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Qary Qooper 


(^M.arion Davies 

Gary is in great demand as a 
lover these days and he has a 
hig opportunity in Spy 13, a 
cc lourful story of the American 
Civil War, in which he plays 
opposite Marion Davies. It is a 
pleasant change, too, to see 
Marion cnce again in a romantic 







This Book may arly be exported to South Africa through the Sole Agents : Central News Agency ^ Ltd 

Printed in England 



{Above) Matheson Lang in a scene from Channel 
Crossing, one of Britain’s best pictures. 

{Ceft) Deirdre Gale with Glen, the champion sheepdog, 
in Song of the Plough 

name for themselves. In many cases people stayed 
away when they were billed. 

On the other hand, the quota did give breathing 
space and a chance to British concerns to whom 
quality did mean something and it has helped them 
to build up the fast-growing reputation they now 

Now that the British trade is firmly re-established 
on its feet and gaining international esteem, the 
quota requirements are rendered unnecessary ; 
indeed, more than that they are likely to prove a 
restraining influence in the upward trend of 
entertainment and quality values for American 
companies still have to put out a certain number 
and there is no reason or indication to expect 
that they will be particular about the class or grade 
of film they handle. 

Exhibitors are now showing far more than the 
seventeen and a half per cent, required by the 
Quota Act, and they are not screening them 
because they have to, but because audiences are 
asking for them ; their success is registered at the 
box oflfice. 

I am not only talking of the outstanding pro- 
ductions such as The Private Tife of Henry Hill, 
Channel Crossing, Catherine the Great, The Constant 
Nymph, and Jew Suss, but of what may aptly be 
termed the “bread and butter” pictures which go 
to make up the ordinary programme. 

The Ralph Lynn-Tom Walls comedies still 
continue on their triumphant course. They present 
a type of comedy which is essentially English and 
appeals strongly to the English mentality. 

American comedies may contain vastly more 
wisecracks and their action may be speeded up 
considerably more, but their appeal to the British 
sense of humour is not, I venture to think, nearly 
so strong. 

{(Continued on page 8) 

,P)klTfllN NEEDS 
NO Quota 

W HEN Britain a few years back was 
struggling to regain the position in the 
film world, which some people are apt to 
forget she held before the War, the quota system 
was introduced to help her against the weight of 
money and experience which America had accu- 
mulated during the war period. 

It was at best a makeshift and led to various 
abuses in that there was no quality clause, so that 
American companies could take any old junk 
that came along to fulfil their necessary quota 

Unfortunately, it was not so easy for the 
exhibitor. He had to show a percentage of British 
pictures and quality obviously was a matter of the 
utmost importance to him. 

It was during this early period of recovery that 
British films began to get a none too enviable 


type of comedy he represents, the advance is 
distinct and encouraging. 

There is, too, a tendency to introduce British 
atmosphere and characters on to our screens — a 
thing which the public has been demanding for a 
long time. 

The Song of the Plough — not a great film, certainly 
— was a step in the right direction. Its camera work 
in the English countryside was noteworthy and 
while it could well have had a much better story, 
it did strive to deal with the problem of the farmer 
in this country. 

Other industries in this country could with 
advantage be afforded the same treatment and make 
highly interesting backgrounds for stories dealing 
with our own people. 

Sorrell and Son, again a tj^ically British concep- 
tion, was originally made in the silent version in. 
America. It is another sign of the times and of 

Laughton exciting critics and pubUc alike to 
unstinted admiration, the future looks rosy enough. 

The fact, too, that George Arliss now his 
American contract has terminated, has come here 
to appear in a wholly British production Wellington, 
is another landmark. 

George Arliss is, of course, an Enghshman, but 
he has been in American films so long that one is 
apt to forget it. 

He brings with him not only talent, but 
prestige ; for he is one of the most respected as 
well as one of the cleverest character actors on 
the screen. L.C. 

A-gain, how many American stars nowadays can 
prove so powerful a magnet to the box office as 
our own Jack Hulbert or Cicely Courtneidge. 

I am not saying their productions reach the 
same level of technical excellence as some of their 
foreign rivals, but I do believe they are giving you, 
the public, what it wants, and that the quality 
has improved immeasurably. 

In the broad slapstick vein, Leslie Fuller has a 
vast following and in this direction, too, in 
ingenuity of idea and presentation of the particular 

the march forward of British produas that for the 
talkie version H. B. Warner should play his former 
role in this country. 

Indeed, it is one of the signs which definitely 
justify our optimism for the future — this influx of 
well-known artistes to our studios. Certainly we 
have had some which only came because they 
looked upon it as a chance to get a big salary when 
they could no longer demand it in their own 
country, but the majority are still at the height of 
their fame and they would not be here if they did 
not think our technicians and studios could do 
them justice. 

Douglas Fairbanks, jun., I feel sure, would be the 
first to admit that he achieved one of his greatest 
performances here as Peter in Catherine the Great. 

Conrad Veidt, the famous German star of the 
silent days, has built up a tremendous reputation 
much greater than he had before, by making films 
in this country. 

With Elizabeth Bergner, who has been hailed as 
the German Sarah Bernhardt, already here, Maurice 
Chevalier coming over, and our own Charles 


A s I am a very active person, I am never 
comfortable in fussy clothes. Severe 
L plainness is better for my needs. 

I always try to select just such clothes that will 
give freedom in active out-door pursuits and yet 
do not appear too severe or mascuHne. 

Moreover, I like my clothes to fit snugly, and 
I even have heavy weights sewn in the hemlines 
of. my dresses to achieve the svelte body line. 

I like hats that can be pulled on and off 
without the aid of a mirror. I wear berets in 
the daytime. Soft hats, that shape to the head, 
I reserve for more formal wear. 

I have never owned a pair of high-heeled 
slippers. They are too uncomfortable for walk- 
ing, and as I prefer to use my own footpower in 
going around I choose slippers with medium 
heels. I usually have my slippers made with a 
grosgrain ribbon bow across the instep. I 
think it gives a flattering effect to the foot. 

In gloves I prefer the sport type of pigskin. 
For more dressy wear I use the wrist-length 
chamois gloves, with no trimmings. 

Much to my embarrassment, I am a perpetual 
glove-loset. My right glove has a way of slipping 
out of my purse, for I never wear it. My left 
glove always remains safely on my hand. 

A favourite pastime of mine is to dress in 
clothes that bring out — what I like to call “my 
make-believe.” I remember distinctly how this 
helped me to pass the days when my shopping 
tours were few and far between. I created 
different moods by my clothes. 

If I wanted to achieve a feeling of wistfulness, 
I wore blue from head to foot. 

Once I assumed the role of a misunderstood 
young lady with such successful results that I 
found myself showered with attention from 
people who strove to lift me from my pensive 

Another time I became a sorrowing young 
widow all in black, and I received glances of 
sympathy from strangers who pictured me as a 
bereaved young thing. 

Left : 


^ browfi velveteen 
swagger ensemble worn 
with blue hand - knit 
sweater blouse from the 
personal wardrobe of 
Joan Crawford. Above : 
A delightful evening 
gown with feathers, frills, 
and spots predominating. 


I T has been asserted that the average life of the 
screen star is five years. That is a very dangerous 
half-truth and depends a great deal on how you 
interpret the designation “star.” 

If you apply it solely to those whose names 
appear in the biggest of big t}'pe before the title 
of the film in this manner : “Lotta Blurb in Her 
Passionate Moment^' then I think there is some- 
thing to be said for the five-year plan, but, on the 
other hand, if men of the calibre of Lewis Stone 
and women like Zasu Pitts are included in your 
stellar category — and they most certainly deserve 
to be — then the assertion is definitely fallacious. 
Why the statement gained such widespread 

credence is because of the beautiful but dumb 
dames who have been boosted into prominence 
and the choice of leading men whose sole asset 
has been a handsome face and a tailor-made form. 
The views of Edward Sedgwick, the veteran 
Universal director, are of particular interest in this 

He has been directing pictures since 1917 and 
has just completed his ninety-fourth production, 
Vll Tell the World, so he is in a position to speak 
with a good deal of authority on the subject. 

He quite agrees that baby-faced women and 
“collar ad” men (an apposite Americanism for the 
aforesaid handsome nonentity) do last about five 
years — and sometimes only five months. 

“However,” he continues, “real actresses and 
real actors who allow themselves to grow old 
normally and who cultivate deep, sincere voices 
and develop real character can go on indefinitely, 
I believe. 

“The main trouble seems to be that once the 
baby-face or the ‘collar ad’ scores on physical 
attractiveness, he or she attempts to maintain 
success on that basis, instead of discarding it as 
the years roll by and replacing it with a beauty of 

To prove his point, Sedgwick cites the success 
of such players as Billie Burke, who appeared 
her own age recently in Only Yesterday ; Lewis 
Stone, who twenty-five years ago was one of the 
handsomest men in Los Angeles ; Alice Brady, 
who once was a beautiful leading woman and is 
now an outstanding character actress ; and the 
comedian. Slim Summerville, who has always 
“acted his age.” 

“Miss Burke and Miss Brady have been on stage 
and screen for twenty years. Lewis Stone has 
been popular for thirty years, and Summerville 
has been in demand since 1914,” he points out. 

He . urges those who plan careers on stage or 
screen not to pay too much attention to physical 

“Personality is the thing that counts,” he says. 
“There is nothing so pitiful as a beautiful but 
dumb woman after she reaches the age of thirty- 

“If a woman at this age has verve and spirit 
and intelligence, on the other hand, she can hold 
an audience for any length of time. Witness 
Pauline Frederick, May Robson, Marie Dressier, 
and Polly Moran, whose real popularity started 
after thirty-five. ” 

Sedgwick, in looking over the present crop of 
young actresses, predicts a steady climb to theatrical 
immortality for Margaret Sullavan, now appearing 
in Tittle Man, What Now? and Katharine Hepburn 
who brought the world to her feet in Tittle Women. 

“Both Miss Sullavan and Miss Hepburn can be 
called attractive without fear of exaggeration,” he 
savs, “but they are not physically beautiful. I 
sincerely feel that both possess talent.” But to 
return to the question of the length of stellar life. 



It is possible to go on quoting many more who 
have defied the passage of time for well over the 
five-year limit. 

Mary Pickford, Douglas Fairbanks, Ricardo 
Cortez, Ramon Navarro, Louise Fazenda, and 
innumerable character artistes who remember the 
good old days when a three-reeler was a big 

There is always, however, another factor to be 
taken into consideration in the public’s taste which 
is apt to prove fickle even in the case of an artiste 
whose ability is beyond question. 

I think a case in point is that of Pauline Frederick 
who certainly reigned for a long time as undisputed 
queen of drama in the silent days, but whose fame 
seemed to dwindle in the talkie era in spite of the 
fact that she was a talented stage actress. 

Nor have her powers really diminished in any 
way except, of course, in the matter of youth and 
beauty — the personality which Sedgwick insists 
on is definitely still there. 

An example from the stage proves more con- 
clusively than anything else that art is ageless 
always excepting the caprices of popular favourit- 

I refer to Sarah Bernhardt who, at an advanced 
age, crippled and ill, could still come on to the 
stage and hold an audience spellbound. 

One wonders how many of the popular darlings 
of the moment will last in public esteem even half 
the time the Divine Sarah achieved. 

In conclusion, one must differentiate between 
actors and actresses. The former can still 
prove romantic lovers well past middle 
age, whereas the latter do not as a rule 
prove convincing to the grand passion 
in middle age. That does not 
mean that they still cannot be the 
centre of attraction to those 
who place acting ability first. 

If they learn to grow old grace- 
fully they can still be 
“stars” in the fuller 
sense of the expres- 
sion. That is they can 

dominate any piece in which they appear and become 
the focal point of interest on their ability and per- 
sonality as opposed to their physical beauty and 

So let us be really thankful for our Dresslers and 
our Arlisses, for they, and those of the same calibre, 
are continually keeping before us the fact that fine 
acting is the life blood of screen entertainment. 

L. C. 


A R ro N 

palatial home (above) 
is the scene of some of 
Hollywood’s most 
lavish entertaining. 

C^HE film colony 
loves Constance 

Bennett s sausage 
and sauerkraut 

H ollywood is what is 

known as a “party 

Next to motion pictures and 
divorces, indeed, parties are 
Hollywood’s best-known pro- 

In the studios the stars are 
driven at high pressure. All work 
and no play would make them 
very dull boys and girls. 

The solution is “parties.” 

There are other reasons, of course. Entertaining 
the right people is important professionally to the 
folk of filmland. More than one great career has 
had its beginnings over a glass of champagne and 
a caviare sandwich at a Hollywood party. 

Visiting executives and “big shot” financiers 
from New York have to be entertained, visiting 
celebrities and new “discoveries” have to be 
introduced to the film world, and the launching of 
new films celebrated. 

But most of Hollywood’s parties are a result of 
Hollywood’s “party” complex. 

Anything in Hollywood is an excuse for a party. 
I have heard of a feminine star who threw one to 
celebrate a new dress, and I have been to at least 
one stellar party to celebrate a new bathroom. The 
addition of a new member to the family or a new 
addition to a house both inevitably call for cele- 
brations — and a party. 

The acquisition of swimming pools or tennis 
courts are always regarded as particularly legitimate 

Now they even hold divorce parties to honour 
that well-known Hollywood institution in the 
same way as betrothals. 

One of the most memorable of recent years was 
that of Carole Lombard. 

William Powell, the ex-Mr. Lombard, was the 
guest of honour. 

Hollywood parties are, nevertheless, not what 
they used to be. The days when Gloria Swanson 
distributed expensive jewellery as favours to the 
women guests and cuff links to the men are gone, 
I fear, for ever. 

That little party cost Gloria a matter of £5,000 
— still a Hollywood record. However, it was just 
a week’s salary to her then. 

Cecil B. de Mille, the “Bathtub King” director, 
runs the Swanson pretty close for the title of 
Hollywood’s most lavish party thrower. 

Some of his soirees ran well into four figures. 
The film colony still talks about a week-end 
festival he once held at Paradise Rancho, when the 



guests donned Russian costumes, competed in 
archery, swimming, and other sports, and drew 
lots for pri 2 es that ran from the rarest French 
perfumes to platinum watches. 

Marshall Neilan once hired a whole hotel and 
three orchestras. 

Those spectacular excesses, of course, belong to 
an earlier and more prosperous era of the screen 
— the time when gold poured into the elegant laps 
of the stars and, to quote the classic wisecrack, 
even good pictures made money. 

The history of Hollywood parties, as a matter 
of fact, is very much the history of Hollywood 

In the very early days when the “ flickers ” were 
just beginning to capture the public imagination 
and Hollywood was little more than a village, 
there was an almost rural simplicity about them. 

The big whoopee occasion of the week was the 
Saturday-night “ hop ” at the Hollj'wood Hotel — 
a strictly lemonade and tea affair. 

It was with the growth of the films and the 
coming in of the fabulous film salaries 
that Hollj^ood parties really began 
to acquire the legendary fame now 
associated with them. 

The Arbuckle scandal which, inci- 
dentally, had its origin in a party in 
San Francisco, far removed from 
Holljnvood itself, threw a searchlight 

*'yOU meet literary and 
f-J' musical celebrities 
in Elissa Landi’s charm- 
ing house. 

A CORNER of the 
sitting-room in the 
home of Harold Lloyd, 
one of movieland’s most 

on the private life of the film colony, the effect of 
which is still being felt to-day, but the parties of 
Pictureland reached their greatest heights of 
profligacy and splendour in the early twenties — 
the gay golden age of the screen. 

It v/as then that the Swansons and 
De Ivlilles broke all the records. 
Barbara La Marr, of tragic memory, 
loved to hire a suite of rooms at the 
exclusive and expensive Ambassador 
to entertain her “ friends.” 

When she lay dying — her fortune pilfered by 
the same friends — the late Paul Bern, Good 
Samaritan of Hollywood, had to pay the expenses 
of her illness ; and, when the time came, with his 
own ever-open purse, see to it that she was laid 
to rest as exquisitely as she lived. 

To-day, Hollywood has got back to more 
conservative standards. 

The great stream of wealth that once flowed 
into the pockets of the picture players has dwindled. 

The stars, moreover, have learned the lesson 
provided for them by the Barbara La Marrs of the 
silent screen. 

Most of them realise now that, professionally, 
their life is short and are putting a proportion of 
their money into the old stellar stockings against 
the day when the public will no longer form up on 
the right at the kinema box offices to see them. 

However, if parties are less extravagant, there 
are more of them. 

Hollywood’s party bill to-day has be.en variously 
estimated between 00,000 and £300,000 a year. 


Some of the bigger ones still dent stellar bank 
rolls to the extent of ;^500 or so an evening. 

One popular club I know takes about £20,000 a 
season — money spent almost entirely on entertain- 
ment of members and their friends. Over £15,000 
of it is for wine! 

It is impossible to keep count of the number 
of private parties which are thrown on every 
conceivable occasion, and for every conceivable 
and inconceivable reason. 

The cost of most of them works out at something 
between £2 and £4 a head, and frequently the 
guest list runs into the hundreds! 

H osts and hostesses go to any length to 
obtain fantastic “stunts” to give novelty to 
their entertainments. 

One of the most popular of these novelties is 
Vince Barnett, who until he got a “ break ” in 
talkies earned a living as a “ professional insulter.” 
Party givers hire him for the evening at a stiff 
fee, and disguised as a waiter or introduced as a 
visiting film expert he proceeds to be rude to the 
chosen victim. 

He once told Norma Shearer at her own party 
that her house was a disgrace and that a woman’s 
place was in the home. 

On another occasion he told the Warners, the 
famous producers, that they ought to learn some- 
thing about making pictures, and he only narrowly 
escaped massacre when he accused Clark Gable of 
being a “ ham ” actor. 

Among the more famous of Hollywood’s hosts 

are the Harold Lloyds, Marion Davies, Constance 
Bennett, and Theda Bara (the girl who in the silent 
days was responsible for the addition of the word 
“ vamp ” to our dictionaries). 

Marion Davies^ one of the wealthiest women on 
the screen, still maintains at her palatial mansion at 
San Simeon, the old traditions of magnificence. 

Invitations to her parties are probably the most 
sought-after in movieland. She usually has a 
crowded house at the week-ends, and among the 
celebrities she has entertained there is George 
Bernard Shaw. 

Lloyd’s parties are more conservative, although 
they are sometimes run in conjunction with a golf 
tournament on his private course, at which he 
gives prizes that run as high as £100. 

“ Freak ” or period parties are the current vogue 
in filmland. One of the most successful and 
memorable of recent years was the “ Gay Nineties ” 
affair given by the Fredric March’s. 

Famous feminine stars impersonated the corseted 
belles of yesteryear while the sex-appeal kings 
forgot their dignity and glamour and sported the 
rakish check suits, high collars, and long coats of 
their grandfathers. 

I T was all such very good fun that the Countess 
Frasso, another of Hollywood’s most famous 
social lights, followed it up with an “English 90’s” 

Jack Oakie won a prize. He turned up in a 
sweater with the Union Jack blazoned on the front 
and an advertisement for a well-known EngHsh 
brand of tea on the back. 

At another successful gathering the stars imper- 
sonated each other — Mary Pickford going as 
Dolores Del Rio in BirJ of Paradise, Carol Lombard 
as Mae West, and so on. 

Tragedy has robbed talkietown of two of its 
most popular entertainers this year. The late 
Lilyan Tashman rivalled Marion Davies and Mary 
Pickford for the title of Hollywood’s most impor- 
tant hostess. 

Lilyan knew her “party politics” and was always 
regarded as one of the shrewdest diplomats in films. 
And the late Lew Cody was the perfect host — 
nobody else could make his corned beef and 
cabbage parties famous. Constance Bennett, how- 
ever, has the same flair for doing things differently, 
and can delight guests with a menu, the high light 
of which is sausages and sauerkraut. 

Elissa Landi is noted for exclusive but charming 
entertainments^ where as like as not you will meet 
the most important of the visiting literary or musical 

All Hollywood’s parties are not so decorous as 
those I have mentioned. But even the wild parties 
are at least discreet. 

Occasionally, news of an “incident” leaks out, 
but for the most part a strict censorship is main- 

The film industry, which felt its kingdom shake 
as a result of the Arbuckle sensation, sees to that. 

Malcolm D. Phillips. 

Fredric March’s “Gay 
Nineties” party. Left to right : 
Mr. and Mrs. B. P. Fireman 
and Mr. and Mrs. Percy Morgan. 


O NE of the most sought after of leading 
ladies is Madge Evans. Although only 
twenty-five years old, she is really a 
“veteran” since she appeared on the screen at the 
age of six. 

“Most of my knowledge of acting,” says Madge, 
“has been taught me by men. I believe that every 
masculine star with whom I have worked has 
contributed something to my training.” 

Madge mentioned Ramon Novarro first. She 
made two pictures with him. Impossible Lover and 
Son of India. 

“Ramon taught me more about charm than any 
other man. He taught me that with charm and 
grace any scene can be made effective.” 

She said that during the production of Impossible 
Lover she questioned the probability of a certain 
sequence, and suggested a change that was not 
agreeable with the director. 

“Then Ramon told me a secret. ‘Play it,’ he said, 
‘as if it were the most important scene in the world. 
Put everything you have into it. Tell yourself it’s 
the most beautiful piece of drama ever written, and 
act it accordingly.’ 

“Well,” said Madge, “I did, and it became the 
brightest sequence in the picture.” 

She has been Robert Montgomery’s leading 
woman in three pictures — Lovers Courageous, Hell 
Below, and Fugitive Lovers. 

“I learned much about the light touch from 
Bob,” Madge said. “It is natural with him. He 
employs it with suavity and grace.”' 

Madge cited an instance. When Lovers Courageous 
was being filmed she said she was afraid that parts 
of the story were too sentimental. 

“But Bob’s acting circumvented this,” she said. 
“At just the right time, he would make a gesture, 
or a funny little expression which would lighten 
the emotional burden and distract the audience.” 

Otto Kruger’s chief charm for Madge is his 
voice. They played together in Beauty for Sale. 
Madge believes Kruger has mote romantic appeal 
in his voice than any other man on the screen. 

“The thrilling quality of his voice almost 
hypnotises one into submission. In a love scene, 
when you’re in a man’s arms, you can’t be thrilled 
by the expression on his face or the light in his 
eyes — because you can’t see them. Your head is 
probably buried in his shoulder. But you can hear ! 
And to hear Kruger’s voice is hearing the voice of 
all emotion.” 

Madge named James Cagney next as a contri- 
butor to her dramatic education. 

“Jim is a master at the art of pantomime. From 
him I learned the use of my hands for expression. 
Jim has developed the art to such an extent that 
words sometimes seem superfluous.” 

There is one thing which all these stars have, but 
which Lowell Sherman, in Madge’s opinion, has 
more of — the art of timing. 

“At least, I learned it from him,” she said, 
“when we made The Greeks Had a Word For It. 
There were some excruciatingly funny lines in the 
picture, but on seeing the rushes each day I noticed 
that Lowell had somehow timed his lines so that 
laughter would never break in on dialogue. 

“Yes, these men are fine actors,” she concluded, 
“and I shall never cease being grateful to them for 
what they taught me.” 


James Qagney 

In a reflective mood. Is he wondering 
why he is nearly always cast as a 
“hard-boiled guy” ? He proved in 
Footlight Parade that “socking” women 
is not his only qualification, and that 
he has a versatility unsuspected by his 

im ^ .A 

(fm/iry Qarlisle 

Makes herself doubly at- 
tractive. It is a pity you 
cannot get the colour of 
those blue eyes. She has 
every reason to be happy 
since she is considered one 
of the talented young 
actresses for whom Holly- 
wood is always ready to 
provide a part in a film. 


who have j 

Qlive ^rook 

They have made us wonder why 
we do not keep more talent at j 
home. Clive has long been an ■, 
established favourite and has won j 
his reputation in countless films. 1 
Perhaps the part that will always J 
be remembered is his lead ini 

favour are 


Cavalcade. Pat won acclaim in her 
first Hollj'wood film, bottoms Up. 
She is a Bradford girl who made a 
success in pantomime at the age of 
ten and now at twenty-one she can 
look back on a long list of stage 
and screen triumphs. 

HDiana IjOynyard 

One of Britain’s gifts to Holly- 
wood and to the screen. She 
made a reputation on the stage 
before being cast for the coveted 
leading role in Cavalcade. Since 
then she has graced many films, 
and- is as popular and as charm- 
ing as she is talented. 

In the following pages is the fascinating story of how a “ super ” talking 
picture is made. The processes are flot as simple as one would 
imagine. The final result thrown on the screen of the cinema has not 
been achieved without much labour and skill. Read this, and you will give 
your applause and appreciation to those who toil for your entertainment. 


AKING a big movie is much like building 
a skyscraper. 

Essentially, the technique of producing 
a super movie is the same as the technique of 
producing a programme picture. The difference 
lies in “more of it.” There are more players, 
settings, technicians. The work involved is much 

The chief thing to remember in considering the 

making of a movie is a further comparison v/ith 
construction work. In each case the actual building 
is preceded by the work of many divisions of 
labour and talent. 

And, as in the building of a skyscraper, there 
are budgets of time, space, and money in the 
making of a movie. The bigger the movie, the 
longer it takes to make, the more room it takes 
on sets and stages in the studio and the more 


studio "street,” 
built at Welwyn for 
/ Was a Spy. 

money it costs for stars and other personnel. 

What follows represents an attempt to explain 
concisely and comprehensively the way a motion- 
picture studio goes about making a big feature, 
so that those who know only what is shown on 
the screen will have an idea of what went behind 
the hour or two of entertainment they got at the 

For the purpose of a concrete example, let us 
take the film The Wonder Bar. 

The first step in making a motion picture is the 
story. A studio scours the world to get its stories. 
Published works, fiction and fact, plays and original 
stories, by studio writers, professional and amateur 
authors, are the sources of what finally becomes the 
scenario, or the “shooting script” from which the 
picture is actually filmed. 

In order to cover all the sources of material, a 
studio maintains a reading and a writing staff. 
The readers always look for something new and 
interesting. They report on the material they read. 
The department head approves or disapproves of 

their judgment. If he 
approves a story, he 
confers with his super- 
iors, who also must 
pass it. 

The reading staff 
operates, of course, for 
the consideration of 
those stories and ideas 
not produced in the 
studio itself. The scen- 
ario staff is composed of 
writers who had proved 
their originality and 
knowledge of motion- 
picture material to the 
extent that they are 
able to turn out screen 
stories in studio offices. 

In addition to pro- 
ducing plots the scen- 
ario staff also gives 
what is known as 
treatment” to 
the works purchased 

^^'ANEGREY inspect- 
“^ing a print of a recent 
film made from one of 
his stories. 

from outside by the studio. They interpret the 
purchased material in terms of the screen, write 
dialogue and weave the story. 

In the case of The Wonder Bar, Warner Bros. First 
National had the opportunity of seeing it as it was 
produced in New York on the stage. The story scouts 
saw its possibilities and reported to the studios. 

It starred A1 Jolson then, too. When negotia- 
tions for its purchase had been completed, Earl 
Baldwin, one of the studio’s most experienced and 
talented scenario writers, was assigned to write the 
“screen treatment.” 

Baldwin wrote a preliminary script, including 
dialogue and stage directions. He then conferred 
with the story editor, Lloyd Bacon, the director, 
Sid Hickox, the cameraman, and Jolson, whose 
experience with, and knowledge of, the original 
play made him valuable as a consultant. 

These men offered ideas and suggestions for 
change and improvement. Baldwin noted every- 
thing and revised his first scenario until he had the 
“shooting script,” which served as the actual basis, 
for the production as it appears on the screen. 

The “shooting script” as it emerges from the 
scenarist’s typewriter is the “Directions for 
Making” a movie. It gives the players their lines, 
cuts out their work for the director and cameramen 
and all other departments involved in bringing 
such a film as The Wonder Bar to completion. 

The “shooting script” is finished, but movies do 
not make themselves, so the various departments 
get busy. Until the actual shooting begins, all of 
the departments have definite jobs to do and a 
definite time in which to do them. 

One of the most important jobs, from the 
standpoint of public and producer, is casting, or 
choosing the players for the picture. 

Casting is in the hands of a “casting director” 
who is responsible to the studio heads and makes 
his suggestions about players to them in conference. 
He must know many things and the first thing he 
does before bringing his specialized knowledge into 
use is to read the “shooting 
script.” In that way he learns 
how many stars, principal 
players, character* actors, bit 
players, and extras are needed. 

Inset : 

the studio wardrobe 

Below : i 

of work 
precede a spec- 
tacular scene like this 
one from a recent 

After reading the shooting script, the casting direc- 
tor makes his suggestions to his superiors. When 
they approve he begins his task of rounding up the 
cast. In the case of The Wonder Bar the studio knew 
that A1 Jolson would play the same role he created 
on the stage. All the other parts had to be filled. 

One of the casting director’s duties is to give 
screen tests. Even stars of long standing must be 
given tests for particular parts. These tests involve 
acting and make-up. Another duty is to know 
what players, are doing and when they can be 
available for the production. 

Casting is not completed, however, with the 
selection of the people whose names go up in 
lights. There are innumerable other players to be 
found, players who may have only" ne or two lines 
to speak, some who have nothing to say, some who 
are “types” and many extras. 

After the screen story is written and while the 
cast of stars is being chosen, the other departments 
of movie-making are doing their work, too, also 
from the “shooting script.” They work indepen- 
dently at first and then their work is blended in the 
final job of actually shooting the picture. 

The research department is the “things” 
encyclopedia of movie-making, as the casting 
department is the “ people ” encyclopedia. 

The research department is entrusted with the 
task of seeing that everything from buttons to 
bottles is correct. They look up details of costume 
and custom, past and present. 

They must know what type 
of motor-cars are used in 
Paris, what kind of glasses 
are used for various wines, 
what kind of furniture the 
natives use in Afghanistan, 
and millions of other details 
which come up in making 

The art department experts 
design the sets and the 
properties. They specify how 
the carpenters, plasterers, and 
other craftsmen are to build 

them. Their plans are begun the moment they 
receive a “shooting script.” 

The property department is one of the most 
extensive in a studio. It is like a storage company 
in many ways. Furniture of all types and sizes 
is stored in huge buildings, and it is all catalogued 
so that the members of the department can find 
any desired piece on a moment’s notice. 

The property department is not limited to 
furniture however, but includes thousands of 
different articles such as jewellery statues, pottery, 
pictures, books, automobiles, carriages, almost any- 
thing and practically everything. They also work 
from the shooting script in furnishing rooms and 
buildings and other types of sets. 

While the property department is at work, the 
craftsmen are busy Ijuilding the sets which will 
house the “ props.” They are the construction 
detail, composed of carpenters, plasterers, masons, 
electricians, glaziers, and others who do the same 
sort of work done on skyscrapers and houses. 

The costume department works simultaneously 
with the others. It has to wait, however, until the 
cast has been chosen, although its designs may be 
begun before that. 

But when the cast — particularly the feminine 
part of it — has been chosen, the costume depart- 
ment really begins to work. Clothes are designed 
^nd fittings begun. With the approval of its 
designs, the tailors and seamstresses begin their 

work of actually turn- 
ing out the costumes, 
which, contrary to 
popular belief, remain 
the property of the 
studio and do not 
belong to the star. 

The costume de- 
signers must be ex- 

(above) listens to the dia- 
logue between scenes, through 
the sound mixer’s earphones. 
Below : Douglas Fairbanks being 
“ fitted " by Oliver Messel, for 
The Private Life of Don Juan. 

HE executioner at 
work ; Grace Brad- 
ley patches Lee Hall 
cuttle Too Much 

Right : 

shot of a big 
musical ensem- 
ble. Inset: Andre 
Mozzei, sculptor 
for the Para- 
mount studio, in 
his art plaster 

perts in every way. They 
must anticipate the fashion 
trends before they are actually 
in evidence. 

The location department’s 
work in motion picture manu- 
facture is geographical. Its 
experts, with their elaborate 
systems of local and territorial 
maps, know where every type 
of background is available. 

They know which mansions 
may be “ borrowed ” for use 
in a movie, where some 
neighbouring farm or moun- 
tainside reproduces an appear- 
ance of some foreign country. 

The make-up department 
is always busy. It is respon- 
sible for the appearance of the 
players. It develops new 
cosmetics and tricks of the 
trade to enhance the attrac- 
tions of the feminine stars and 
the men. It must keep abreast 
of the fashion trend constantly 
because hairdressing, as well as 
cosmetics, comes within its 
departmental work. It creates 
wigs and new coiffures as 
'well as old faces and different 

Music is one of the im- 
portant representations of 
talent in a film, comprising 
not only composition of the 
music and lyrics, but the 
orchestral and vocal rendition 
of the numbers. 

A1 Dubin and Harry 'Warren 
were responsible for The 
Wonder Bar score. They are 
the men who wrote the song 
hits in 42nd Street, Gold Diggers 
of 1933, and Foot light Parade. 

The composers work with 
the dance director and the 
stars who will sing their num- 
bers. They consider both, 
and the public who will sing, 
whistle, and dance to their 
words and music. 

Although they have offices 
at the studio, they do most of their song-writing 
in their homes, on the moment inspiration strikes. 
In some instances, they can write a hit in an hour. 
More often it takes days of work, writing and 
re-writing, until each song is polished and suited 
for the average singer and musician, as well as the 
stars of the movie. 

When the song writers have finished the musical 
score for the pictufe, the music-writing member 
of the team — Harry Warren, in this case — works 
on the orchestration with the studio arranger and 
orchestra director. The songs are then scored 

for the various orchestras 
which will play them in 
the picture. 

After the picture is 
made and the songs have 
been sung and played and 
danced to in the different scenes, 
the orchestra is again used for 
incidental effects. 

The incidental effects are used as 
musical background for conversation and action 
and the process of putting them on the film after 
the scenes are photographed is known as 
“ Duping.” 

The music is recorded separately and synchro- 
nized with the film, so that the sound track har- 
monizes with the action. 

The spectacular ensemble effects of The Wonder 
Bar were created by Busby Berkeley. 

The dances are begun, very often, before the 
music is written for the picture ; not the actual 
dances themselves, but the preparations that make 


Above : 

oi-' cal” set. Below: A 
studio dressmaking shop 
fashioning a gown for 

the spectacular effects possible. 

Berkeley first of all chooses his 
beauties. His task is relatively 
simple since he built up the 
famous chorus which has been 
seen in the other recent Warner 
Bros. First National musical hits. 
He looked at thousands of girls 
before he found those who form 
the nucleus of his present stock 
company of chorus girls. 

' Berkeley’s requirements for his 
chorus girls are not merely 
summed up in the word 

“ beauty.” He prefers 

“ personality girls.” In 
addition to beauty they 
must have distinct per- 
sonalities and be different 
from each other. 

Once having assem- 
bled his group of girls, 
Berkeley conditions them 
for the strenuous dancing 
that is to' follow. He 
puts them on a regular 
athletic training rgutine 
as to diet, hours, exercise, 
and routine. The disci- 
pline is not too rigorous, 
but sufficiently regular to 
get them in good con- 
dition and keep them so. 

The chorus girls are 
kept together on the sets 
when they are working 
in a musical picture. 
They are brought to the studio in buses in the 
morning and taken home the same way at night. 
They have their own large tables in the studio restaur- 
ant, over which Berkeley and a dietician preside. 

While the dance director is rehearsing his chorus 
girls and the various departments are making ready 
for the actual filming of the picture, the stars and 
principal players are learning their lines and action. 

The methods of doing this vary with director' 
and players. In the case of Tbe Wonder Bar the 
director was Lloyd Bacon. 

Bacon’s rehearsal methods ate comparatively 
simple. He asks that each player memorize the 
lines and cues he will have in the picture. He has 
them learn their parts by scenes, notifying them two 
or three days in advance as to which sequence is 
next to be filmed. In this way he does not tax them 
with too many lines of dialogue and directions for 
action, eliminating the possibility of costly errors 
later on when actual shooting has begun. 

When the players have learned their lines for 
their respective scenes. Bacon proceeds to teach 
them their “business,” or how he desires them to 
interpret their roles. He does, however, leave most 
of such matters to them, as he maintains that 
expert performers need little direction. 

Bacon rehearses each scene separately, on the 
actual set to be used, if possible, so that the players 

will be completely familiar with the “ props ’* 
and background when the cameras begin grinding. 
At the same time, director and players discuss 
best methods of interpretation. Bacon believes 
that such discussions increase the familiarity with 
the story and heighten the players’ enthusiasm. 

The stars’ own methods of learning their parts 
vary with the individuals. Some, known as 
quick “ studies,” read their lines only two or three 
times and know them. Others must repeat their 
lines over and over again. Still others wait until just 
before shooting to study their roles and promptly 
forget them as soon as the action is over. 

There are dress rehearsals in picture-making 
as well as in play producing. The' players, when 
called for a certain scene, appear in their costumes 
and are put through their paces after everything 
else is made ready and before the cameras and 
microphones are opened for use. 

After doing their parts until the director is 
satisfied that they are performing as they should, 
he begins the shooting. Sometimes there may be 
just one rehearsal before the cameras begin turning 
over. Other times, there may be a dozen. 

Preceded by weeks of work on the part of the 
story and dance directors, the players, departments 
and sub-departments, the picture is finally ready 
to shoot. 

The studio superintendent has conferred with 
all parties responsible for production and has 
worked out with them a shooting schedule, which 
may take the last sequence of the picture first 
but which, in any case, routes the work so that it 
may be done most efficiently. 

The sets have oeen built, the choruses and 
orchestras trained, the players rehearsed, every- 
thing is ready for the call of “ Camera! Action!” 

The boss, of the set is the director. He must 
oversee all the details ' of production, acting, 
recording, both sight and sound, background, 
costumes, etc. 

He is, to come back to the skyscraper com- 
parison, the construction superintendent ; he 
must himself be sufficiently expert to know whether 
the work of the co-operating departments is up 
to the necessary standard. 

Director and cameraman work together on the 
set. The director must himself be able to visualize 
the scenes through the camera eye so that he can 
convey to the photographer just what he wants. 
Both must be experts and inventors. Each has 
his assistants who carry out orders. 

The qualifications for directorial work are so 
numerous and inclusive that they may be summed 
up in the statement that “ A director must know 
everything about making movies.” 

The cameraman, with whom the director works 
and who is responsible for the celluloid recording 
of each scene, must know a myriad of facts about 
lighting, angles, and tricks of the trade! He must 
be extremely accurate and effective. 

Under the watchful eyes of the director and his 
assistants work the representatives of the depart- 
ments which participate in the pre-shooting stages 
as well. All of these departmental representatives 


record the speech bf the players and the sounds 
of the action. They are able, through expert 
manipulation, to improve sounds and speech. 
They must know the technical end of recording 
and must be able to detect foreign sounds which 
may spoil a “ take.” They report to the director 
on the “ takes,” explaining which are good and 
which spoiled by foreign noises. 

“ Props ” are the men who represent the 
property department and watch the production 
of a scene to make sure that their contributions 
are properly handled. They stand ready to furnish 
anything which may have been overlooked. 

The make-up department also send its representa- 
tives to the scene of the shooting. They are on 
the sets to see that the star’s hairdress is always 
as it should be. The same system applies to the 
make-up of the faces. The exertions of each scene 
result in some damage to the cosmetics worn by 
the players. It is the duty of the make-up n:en 
and women to restore their faces to the stars. 

The representatives of the costume department 
serve, a purpose similar to that of the make-up men 
and women. They are on the set to see that the 
players’ costumes are not damaged. They watch 
out for rips and tears, lost buttons, split seams and 
the other accidents which happen to clothing. 

One of the most important persons on the set 
is the script girl who generally sits at the director’s 
elbow and records the various things she sees. 
She generally makes notes of all details of costumes, 
furniture and setting, records the actions of the 
players and hundreds of other details of a scene. 

It is the task of the script girl to see that the 
star does not enter a door with his coat buttoned 
and leave the room later without any coat at all 
as can happen because different parts of a scene 
are filmed at different times. 

The script girl is a kind of all-seeing secretary 
to the director and the players and the cameraman 
and the other workers on the set. 

The stars’ stand-ins are on the set, too. These 
are the doubles of the stars who act as the shock 
absorbers and stand under the strong, hot lights 

have specific duties to perform on the sets before, 
during and after the “ takes.” 

Electricians wire for sound, photography, and 
lighting. They watch all the details involved in 
furnishing the energy for the machinery. Many 
of them work in the rafters, on the catwalks, above 
the huge sound stages on wliich the sets are built. 
During the time the cameras are turning over., 
the electricians, as well as the other workers, are 
quiet and stand by. 

When the cameras stop grinding they change 
lights and microphones to improve the former 
set-up or change the effect, according to the 
desire of the director. 

The sound men are those who operate the dials 

Below : 


^ Sylvia Sidney in 
Thirty Day Princess. 


while camera angles, microphones, and lights are 
beings adjusted. 

The knowledge of the personnel involved in 
the manufacture of a movie is comparativelj^ 
explanatory, but a description of a “take” may 
give a more complete picture of picture-making. 

Take an imaginary scene between A1 Jolson, 
Kay Francis, Dolores Del Rio, and Dick Powell. 
Remember that all the foundation work has been 
done and all that remains now is a rehearsal of 
the scene, then the arrangement of the mechanical 
and technical details and the final shooting. 

All the players know their lines. They report 
to Director Bacon after one of his assistants has 
rounded them up in dressing-rooms and odd 
corners of the studio lot. Bacon reheat ses the 
four of them in their lines and is satisfied. He 
gives the order that the lights, microphones, and 
cameras be set up with the stand-ins in place of 
the stars. He has the four stars checked over as 
to costume and make-up and rehearses the scene 
once more for luck, while Jolson stands on pins 
and needles, anxious to record the scene. 

Finally, the details on the set are finished and 
everything is ready. Bacon makes a final check 
on the set as the players rehearse the scene 
once before the cameras begin turning. They 
still know their lines and Bacon gives the order 
for “Action!” as soon as they have returned to the 
places from which they will begin the scene. 

They get half-way through the scene only to have 
the sound man stop the action to report that there 
is a foreign noise interfering with the recording. He 
traces it down, discovers that it was the beating 
of the wings of a fly caught in the microphone. 

Again, complete silence is ordered. The scene 
begins again and finally, after two or three more 
interruptions for one cause or another, the scene 
is recorded to the satisfaction of director, camera- 
man, and sound men. 

The five minutes of action recorded for that 
sequence required several hours of preparation. 
But the day’s work is not yet done — the “rushes” 
have to be seen in the studio projection room- 

Above : 

GDENN levy direct- 
cL' ina O^rtrudf Lau’- 

o*-' ing Gertrude Law- 
rence in a scene for Lord 
Camber’s Ladies. 

Before that, the “rushes” — which is the name 
given to the camera record of the day’s work — 
have to be developed in the laboratory. Then 
they are scanned by the director, cameraman, 
studio executives, and players. Things may show 
up on the screen which were not apparent when 
the scene was being photographed. If the take 
was not perfect, a “retake” must be scheduled to 
eliminate the errors or technical accidents. 

Thus, weeks of preparatory work go into the 
first scene of a movie and those that follow. 

The shooting extends over a period of still more 
weeks so that by the time all the work of actual 
shooting is done, months have been consumed. But 
there is more work to be done in the laboratory and 
cutting-room, by specialists of one type and another. 

It will be about another month before the 
picture is completely finished and ready for the 
Hollyv^ood pre-view and the world premiere of 
the studio’s latest effort. 

'Johnny weiss- 

Maureen O’Sullivan be- 
ing photographed from 
an unusual tree - top 
angle for Tarzan and His 


newspaper headlines which are flashed on the screen 
for a few moments to carry along the story or to 
cover a gap in time. If the “ insert ” is a letter it 
is written and photographed in the laboratory. If 
the “ insert ” is a newspaper front age, the depart- 
ment creates that, too, and photographs it. 

While the cutters, editors, and laboratory 
technicians are at work the music department is 
also doing its job of “ scoring ” the picture with 
incidental music and backgrounds. The incidental 
music is recorded separately and then attached, 
as it were, to the individual scenes with which- it 

The work of the various laboratory workers 
completed, the cutters and editors, make their 
final revision of the film. 

Finally, the film, which went into the cutting 
room in an apparent hodge-podge of many pieces, 
emerges as a complete feature,^representing the 
work of hundreds of experts In all' fields of art 
and crafts. From the cutting room it goes to the 
developing and printing rooms where the prints 
are made for showing in the theatres. 

Even then the picture is not really completed 
until the studio heads will see it at their theatres. 

The institution of the preview is for purposes 
of gauging a general audience’s reaction to the 
picture on which the studio bases such high hopes. 
The procedure is to run off the new picture after 
the theatre’s regular programme is over. 

The audience, of course, stays to see the very 
newest thing in pictures, and its reaction is studied 
in various ways. “ Reaction cards,” as they are 
called, are given to the patrons as they leave the 
theatre. These are penny postcards already 
addressed to the studio and the reverse side is for 
comment. Patrons tell briefly what they think of 
the picture and give the cards to a theatre attendant 
who drops them in the mail-box. 

In addition to the reaction cards, studio repre- 
sentatives get an idea of how the public feels by 
the applause with which their feature is received. 

The effects of the preview last for days, and mean- 
while the world premiere of the picture is planned. 

The world premiere may be held in any spot 
in the , country. Generally, however, the first 
official public showing of an American film is 
held in either New York or Los Angeles, 
possibly in both cities on the same evening. 
If the premiere is held in Hollywood, the opening 
is the occasion for the coming out of 
hundreds of stars, featured players, directors, 
Lnd other noted people of the film colony. 
Tickets sell at high prices. The ceremonies 
are broadcast. Thousands of people who 
couldn’t get tickets or are attracted by the 
flash and display of the opening, line 
the sidewalks near the theatre and watch the 
celebrities as they enter. Huge floodlights 
illuminate the theatre and the sky. There may 
be music, too, but, with or without it, the 
spirit of high carnival, the excitement, suspense, 
thrills and magnificence exist just the same. 
It is a big night for the studio, the players 
and Hollywood. 

Completion of the camera work didn’t mean that 
The Wonder Bar was finished and ready to be shown 
in the country’s theatres. There had to be much 
more work on it. 

The director and the musicians carry on their 
work after the shooting is over, working in the 
cutting-rooms and laboratories and recording 
rooms. The director co-operates with the cutters 
and editors, whose job it is to assemble the thou- 
sands of feet of film taken by the cameras in proper 
sequence. The musicians record the incidental 
musical effects. 

The work in the cutting-rooms is necessary 
because movies are made cut of direct sequence. 
The scenes are not filmed as they finally appear on 
the screen, but according to a schedule which is 
made up to save the most possible time and money. 

Thus, the first scene of a picture may be the last 
one filmed. It is the duty of the editors to assemble- 
the film in the sequence originally planned. They 
receive the film in varying lengths, fifty feet of it, 
or a hundred and twenty, or three hundred. They 
pick out the best “ takes ” and “ cut ” until the 
feature is in the required length. 

A film like The Wonder Bar, however, required 
many more thousands of feet of film than the 
average programme picture. 

While the, cutters and the editor are assembling 
the footage -already recorded by the. camera, 
laboratory speciahsts and technicians are including 
the “ process ” and trick shots without which 
hardly any picture of to-day is complete. The 
“ process ” shots are those, for instance, which 
show the star against a Paris background, although 
he is in Hollywood. 

Trick shots, which also embrace “ process ” 
work, involve the photography of miniatures, novel 
effects, and a variety of tricks of the cinematic trade. 

The “ inserts ” are also made in the laboratory. 
“ Inserts ” are such things as the letters and 

Q etting a 

trick shot of 
Lupe Velez for 

cAnna ^ten 

From Moscow to Hollywood, 
via Germany, sums up the 
career of this star. Her 
Continental work drew the 
attention of Sam Goldwyn, 
the producer. He spent 
hundreds of thousands of 
pounds to star her in Lady of 
the Boulevards. 


Still another British lead who 
has been snapped up by the 
Hollywood talent scouts. One 
of the best looking and virile 
juveniles on the British screen 
he gave fine performances, 
notably in Rome Express and 
Sorrell and Son. His first 
American picture is All Men 
are Enemies. 

(fj^iriam ^^\}^opkins 

Intended originally as a 
dancer — she made a stage 
debut as such in New 
York in 1921— this brilhant 
artiste soon took to the 
legitimate stage, and after 
a distinguished career 
made her screen debut in 
The Hours Between. Scored 
an individual success in 
Lubitsch’s brilliant pro- 
duction of Noel Coward’s 
Design for Living. Her 
latest picture is A// of Me. 

Si^aheth cAllan 

ohe was only seventeen when she made he*. 
stage debut at the Old Vic. After playing in 
stock with Ben Greet and appearing in many English 
productions, including Service for L^adies, she went to Holly- 
wood, where she scored her biggest success. Service. Her latest 
picture is ]ava Head, which she made once again in this country, 


Qlive ^rook 

He was to have been a barrister, but a break 
in the family fortunes forced him to earn_ 
his own living. 

He became a club secretary, and before 
he was out of his ’teens had tried his hand 
at newspaper reporting and short-story 
writing ; he is also no mean violinist. 
His mother had been an opera singer, and 
the stage was in his blood, so after the War 
— in which he gave distinguished service — 
he took to acting under the eyes of Sir Alfred 

Later, he married his leading lady, 
Mildred Evelyn. 

~ After two years in British pictures he 
went to America as a free-lance and 
became one of the world’s most 
popular leading men. 

Minnie Barnes 

Few screen actresses can boast such a 
variety of talents as Hollywood’s latest 
British acquisition. Brought up near 
Sevenoaks, Kent, she was first a farm 
hand with a gift for handling horses, 
which made her determined to be a 
“vet.” She changed her mind and went 
into a dairy business, controlling a milk 
round. - ' . 

• •. Then came a passion for 
nursing, cured by scrubbing 

Stage dancing, chorus 
work, partnering Tex Mc- 
Leod as a singer and hsso 
manipulator, cabaret enter- 
taining, acting in a Chariot 
revue, and then films fol- 

Binnie won international 
fame in The Private Tife of 
Henrj l^lll and now she has 
been captured by Hollywood. 


Qharles Qhaplin 

The world’s most famous comedian, 
born at Willesden, once earned 
thirty shillings a week playing in 
Fred Kamo’s “Mumming Birds” on 
the halls. He went to America and 
- ^ made his screen debut in a topical 

picture — a funny little figure who would get in 
the way of the cameraman. From that day he has 
never locked back. Starting in Hal Roach shorts, 
he launched his own short productions, which 
are too well known to need mention, and gradu- 
ally made feature films. In the talkie era he has 
only made one film — City 'Lights. 

(Sknna ^ten 

The Soviet’s sex-appeal queen will probably never 
live down the story that Samuel Goldwyn spent 
a million dollars in grooming her for stardom. 
Anra was born in Kiev, in the south of Russia. 
Once she worked in a restaurant. Her father was 
killed in the fighting against the White Army. 
She reached Moscow and the stage eventually, 
and after winning a reputation in the thdatre 
became one of the Soviet’s first screen players. 
Tempest, made in Germany, won her international 
recognition and a Hollywood contract. In the 
film capital Anna lives very simply. She goes to 
no parties. She dines at an inexpensive little 
Hungariarf restaurant in North Hollywood and 
drives a small car of cheap make. 

ijonel cAtwill 

Born in Croydon, this British actor has played in 
everything, from Pinero to Galsvvorthy and from 
Shakespeare to Ibsen. He started life as an archi- 
tect, but developed a fondness for the stage and 
made his debut in 1906 in The Walls of Jerieho. 
In 1915 he visited America in a company headed 
by Lily Langtry. Later he supported Nazimova 
and starred in Deburau. In 1927 he made two 
talkies — The White-faced Fool and The Knife. 
Since then he has been constantly in demand, 
especially for sinister roles. 








^at "Paterson 

Yorkshire’s gift to Holl)"wood ran away from 
school at the age of fifteen and arrived in London 
with a ten-shilling note and stage ambitions. 

She nearly starved for a time, but finally got a 
job in a touring company. 

For several years she gathered experi- 
ence in this field. 

Then one day she met 
Paul England, the actor- 
singer-composer, and he per- 
suaded her to join his broad- 
casting act, “The Two Pairs.” 

Her first important screen 
role was in The Professional Guest. f 

A few months ago her work was 
rewarded with a Hollywood contract 
and after her first American talkie, j; 
bottoms Up, she is expected to achieve 
major stardom. 

Pat was born in Bradford, twenty- 
one years ago. She has fair hair and 
brown eyes and is only 5 feet tall. 

The actress surprised her friends 
and the film colony by eloping in 
February this year with Charles Boyer, 
the famous French actor, who works 
at the same studio. 

Miss Patterson has three hobbies — 
swimming, tennis, and films. 

Edward Q. ^^^<,^binson 

His initial experience before the camera occurred 
nine years ago, when he was engaged in a small 
part in The Bright Shawl, starring Richard Barthel- 
mess. He accepted the part, not because he was 
interested in pictures, but because the company 
was going to Havana, which the well-known stage 
actor wanted to see. He managed to play the role 
he was engaged for, but falling ill, he had to 
forego the pleasure of the company’s sojourn in 
Havana. His disappointment was so great that he 
dismissed any further activity in front of the 
camera from his mind until the arrival of talkies. 
Then he was persuaded to go to Hollywood after 
a brilliant run of success as a Theatre Guild star 
in particular and a Broadway actor in general, 
and became famous almost from the day of his 
appearance in Tittle Caesar. For a time he was 
bound to gangster roles, but since then he has 
been given scope for his versatility in a succession 
of diverse characters. 



John ^oles 

Edmund Qmnn 

Born at Glamorgan in 1875, 
this brilliant character actor 
made his first stage appear- 
ance at the Public Hall, 

Tottenham, in Rogues and Vagabonds. 

His West End debut was at the Globe 
Theatre in 1899. He has toured the 
world and has wide experience as a 
producer. Bernard Shaw chose him 
personally for the leading role in the 
talkie version of his play. How He 
Hied to Her Husband. He has scored 
outstanding successes in Hindle Wakes 
and The Good Companions, and he makes his 
presence felt in whatever role he appears, 
however small. His favourite occupation is 
watching rugby football. 

Qonstance Qummings 

Another chorus girl makes good. Connie 
battled Broadway and won before Samuel 
Goldwyn saw her and took her to Holly- 
wood to play opposite Ronald Colman. When 
she got there she was rejected as the wrong 
type, but Colman persuaded her to stay in 
films and before long she was the busiest 
young actress in the studio. She was selected as 
a Wampas Baby Star for 1931. Connie’s motheO 
was a well-known singer, and her father a 
lawyer. She is a youngster of real intelli- 
gence and great personal charm, as all who 
met her during the time she was making films 
in England will testify. During her visit she 
met Benn Levy, the playwright, and now she 
is Mrs. Benn Levy in private life. 



Born in Greenville, Texas, Boles went to Austin, the 
University of Texas, to study languages and sciences. 
Served in the War and then wanted to go into business. 
One day, Oscar Seagle, the famous singing teacher from 
New York heard Boles sing at a charity show, and urged 
him to study singing. He made Boles Ids secretary to en- 
able him to pay for the lessons. Later, Boles accomparded 
him on a trip to France and there met Seagle’s own 
teacher, the famous Jean DeReszke, who persuaded 
Boles to study with him in France. On returrdng to 
America, Boles had a lead in Tittle Jesse James and then 
in Kitty's Kisses. While playing in this musical-comedy 
on Broadway, Gloria Swanson saw him and invited 
him to play the lead in her picture, Sunya. He then 
obtained a contract with Urdversal, appearing in 
The Heart of a Nation, The Last Warning, and Seagal, 
silent pictures. When talking pictures came along 
he was loaned for The Desert Song and Rio Rita. 
Since then, he has shown that he is as good an actor 
as a singer by his performances in such pictures 
as Back Street and Only Yesterday. Boles is 6 feet 
tall, weighs 180 pounds, and has grey-blue eyes 
and brown hair. 


^ THROP is 
ever without his 
icky piece of coal. 
* always turns his 
}cks inside out on 
le day he starts work 
n a new pictvure. 

ARLEN with 
his baby son. 


' pet superstition is 
concerned with 



Nearly all the film players have their 
pet foibles. Here are some of them. 

A CTORS are traditionally a superstitious 
variety of humanity. Strange preferences 
X -^and reluctances testify that the acting 
profession is as much addicted to signs and omens 
as of yore. 

It is safe to say that hardly a player in the Studios 
is completely free from some sort of belief in 
“signs, omens, dreams, predictions.” 

Here are some of the superstitions : — 

Pat O’Brien always turns his socks inside out 
on the day he starts a new picture. He did it 
accidentally when he made his screen debut in 
The Front Page, and has kept it as a superstition 
because of his success in that film. 

Paul Muni never fails to rub the kinky wool of 
a coloured boy, making a wish, regardless of 
where he is. 

Richard Barthelmess feels that superstition is a 
sign of ignorance, and goes out of his way to do 
things popularly supposed to bring bad luck. His 
luckiest day is the rare “ Friday the thirteenth.” He 
indulges in a sort of reverse superstition. 

James Cagney will postpone a train trip if he 
has to sleep in an upper berth. He fell out of one 
in his vaudeville days, fracturing an ankle, thereby 
losing the best contract he had yet had. 

Ruby Keeler will not dance before the cameras 
in new shoes — an old musical superstition. 

Joe E. Brown plays baseball in between pictures 
and always sticks his chewing gum on his cap 
button before going to bat. 

Donald Calthrop is never without his lucky 
piece of coal. He puts it into every suit he wears 
on and off the set. His reason is that one day a 
super asked him to accept a piece of coal for luck. 
Not wishing to hurt the man’s feelings, he did so. 
Next day he received a contract for Blackmail, and 
he remembered the piece of coal. 

During one of Rachard Arlen’s pictures some- 
thing was always happening at the critical moment. 
This was too much for Arlen. He got up and 
walked three times round his chair. 

Ramon Novarro has a tattered bath robe which 
he has worn ever since The Prisoner of Zenda. He 
believes it is lucky. 

Cecil B. de Mille favours an old green overcoat 
at the start of all his productions. 

George Fitzmaurice, the famous director, always 
wears a gardenia in his buttonhole. 

Janet Gaynor feels that if she ever put her right 
shoe on first her luck would vanish. 


Mickey Mouse 


J His 


great Garbo mystery act, Alae West's 
V_y wisecracks, the Dietrich glamour, and the Gable 
sex appeal have been ballyhooed from Birmingham 
to Bagdad, but the real king of the screen to-day — and, 
some say, it’s only genius — is a shy young man of 
thirty-three, whom ninety-nine filmgoers out of a hundred 
would not know if they met him in the street. 

There was a time when stars like Mary Bickford and 
Charles Spencer Chaplin commanded 
tremendous followings all over the 
world, but the spectacular personalities 
of the talkie era have as many hitter 
detractors as they have fenent admirers. 
Not one of them even approaches 
the universal popularity of Walt Disney’s 
Mickey A'louse. 

Alickey has a fan mail that runs into hundreds 
of thousands of letters a year from every corner 
of the globe. 

In Trance he is Michael Souris ; in Germany, 
Alichael Alans ; Spain calls him Aliguel 
Ratonocito, and in Japan he is ,Aliki Kuchi. 

M illions of youngsters of every 
nationality belong to Mickey 
Mouse Clubs. Children love him, 
yet he is equally the idol of the highbrows. 

The royalties on Mickey Mouse toys, 
books, and novelties bring in almost as 
much revenue to the Disney studio as the 
pictures themselves. 

Mickey has given command perform- 
ances for the Royalty of Europe. 

The Prince of Wales and the Duke of 
York have more than once testified to his 
importance, while President Roosevelt 
invariably includes him in 
the White House pro- 

Mickey is incontestably 
the most popular star 
among the picture players 
of Hollywood. His pic- 
tures are booked regularly 
for their private shows. 

But even the picture 
players of Hollywood 
know little of the man who 
created the world’s most 
famous cartoon character. 

When, the other night, 
he attended his first big 
Hollywood party, nobody 
asked him about 
Mickey Mouse or his 
Silly Symphonies. 

Nobody asked him to 
play the harp he had 
brought with him. 

Nobody recognised him. 

He sat alone in a corner until a journalist friend 
happened to spot him and effected introductions. 
The creator of Hollywood’s greatest star was as 
genuinely thrilled as any schoolgirl might have 
been to meet Jean Harlow, Wallace Beery, Bebe 
Daniels, and other famous personalities who were 
present. And they were just as thrilled to meet him. 

Disney, his friends know, as a matter of fact, has 
purposely avoided the limelight. 

He prefers to remain in the background and let 
Mickey be the sole entity to his public. He con- 
fessed to me once that he feels that to push himself 
forward would be to destroy the illusion of Mickey. 

That and the fact that he is, as I think I have 
mentioned, a rather shy and modest young man, 
is why he is so seldom seen at the fashionable 
Hollywood banquets, social gatherings, and 

He lives in a little six-room bungalow in a quiet 
residential Hollywood neighbourhood within five 
minutes’ walk of his studio. 

He is happily married to Lillian Bounds, a girl 

who used to be one of his staff of artists in the 
studio, and he told us recently that their chief 
extravagance up to that time was an electric 

Mrs. Disney has since presented him with a baby. 

He drives a by no means costly car that is over 
three years old now — an antique, according to 
Hollywood standards. 

Money interests him little, although he has 
known struggle and adversity and grinding poverty. 

“How does it feel to be rich ?” somebody asked 
him once. 

“I don’t know and I don’t care,” he replied. He 
lets someone ?lse run his accounts (his brother Roy, 
business manager of the outfit, as a matter of fact) ; 
his chief interest is running his studio. 

The film colony was ama 2 ed the other day when 
it learned that from his million-pound creation he 
was drawing the munificent and princely salary of 
£40 a week! 

And that was a “rise.” Until then he had beqn 
taking £30. His huge earnings go back into the 


studio for the development of his pictures. Last 
year profits of nearly /^200,000 were used in this 

But for this policy, he points out, it would have 
been impossible for them to have produced and 
perfected the Silly Symphonies in colour. 

Incidentally, he puts about £4,000 into the 
making of each of the Mickey hlouse cartoons. 
That is not taking into account the operative costs 
of his studios and his staff salaries and other 
‘‘overhead” expenses. 

The Silly Symphonies, of course, run to more, 
something like £6,000. He makes one of each 
every month. 

Walt Disney was born in Chicago — where the 
gangsters come from. A natural aptitude for 
drawing led him to enter the Chicago Art Institute, 
but the coming of the Great War interrupted his 
studies and for the twelve months before the 
Armistice he was driving an ambulance in France. 

Kansas City became his home on his return 
from the front. He bought himself a movie 
camera and tried for a while to make a living as a 
“free lance” newsreel reporter. 

Then he got a job (at £2 a week) with a 
commercial art firm which specialised in agricultural 
advertisements and for some time his artistic efforts 
were confined to pictures of contented cows and 
prolific hens. 

A modest engagement as a cartoonist on a 
Kansas City newspaper followed, and Disney was 
ready to enter the film field again, this time with 
pen and ink drawings. 

The failure of the project did not discourage 
him from trying again. Only this time he went to 
the film capital. 

With a personal capital of £8, and £100 provided 
by his brother Roy, he set up in Hollywood’s 
“Poverty Row.” 

I wonder how many people remember the 
one-reel “Alice” cartoons which were really the 
beginning of the Disney studio. “Alice ” was a 
real girl whose screen companions 
were cartoon fairies. 

It was tremendously hard work. 

Disney himself had to make all 
the thousands of small drawings 
necessary for this type of film. 

^^IGHT : Walt Disney at work. 

V- Below : The unique 

Despite the way he slaved to put “Alice” over 
she never quite captured the public imagination. 
Nevertheless, the idea of the animated cartoon 
had caught on and it was with high hopes that 
the young artist tried his luck with a new character, 
Oswald the Cat. 

Oswald was no earth-shaking success, but it 
enabled the Disneys to save some £300. 

The screenic death of Oswald and the birth of 
Mickey Mouse, or Mortimer Mouse, as he was 
originally christened, came about by one of those 
curious accidents that sometimes happen in the 
film world. 

A business rupture occurred in the relations 
between the brothers and the firm that W'as releasing 
the films to the theatres. Oswald was, therefore, 
“through” in the jargon of the film world. 

Many stories, some of them so 
romantic that if they are not true 
they ought to be, have been written 
about how the artist hit upon the 
creation of the mouse character. 

Disney himself says ; “I first got 
the idea, I suppose, when I was 
working in Kansas City. The 

{Continued on page 40) 

(Continued from page 39) 
girls used to put their lunches in 
wire waste-paper boxes, and every 
day the mice would scamper 
around in them after crumbs. 

“I got interested and began 
collecting a family in an old box. 

They became very tame and by 
the time I was ready to turn them 
loose they just sat there on the 
floor looking at me. I actually 
had to chase them away. 

“I decided on a mouse for the cartoon, too, 
because I thought it would make a cute little 
character. They’re tiny, with little feet and long 
whiskers, and are kind of appealing.” 

For a long time, however, it looked as if Mickey 
Mouse would starve for the lack of the price of 
a piece of cheese. 

i Disney hawked his new creation round the film 
offices, but nobody wanted to tie their money to 
the tail of a black and white mouse. To-day, 
incidentally, any company would gladly put down 
one million pounds in hard cash to buy Mickey 

It was the coming of talkies that marked the 
turn. Sound provided the scope and outlet for 
Disney’s ingenuity. 

One night one of the then unknown Mickey 
Mouse cartoons was put on as a programme 
“filler” at a Broadway premise. The audience 
was entranced. By next morning Mickey and his 
creator were famous. 

The Silly Symphonies followed soon after and 
the rest is too recent history to require recapitula- 
tion here. 

The Disney studio is to-day one of the most 
interesting in Hollywood. It is unlike any other 
in the film city. 

You cannot mistake the home of Mickey Mouse. 
A huge electrical figure of the famous rodent 
star towers above the building. At the entrance 
you are greeted by his own coat of arms, with the 
words “Ickmay Ousemay.” 

Inside this unique workshop there is a clatter 
and an air of cheeriness and lack of formality 
that some of us remember as a part of picture 
making in the days of the screen’s silent greatness, 
but which has long since departed from the 
“ efficiency experted ” and pompously dignified 
major studios of to-day. 

The two hundred or so people — mostly young- 
sters under twenty-five, incidentally — who are 
engaged in the production of Mickey Mouse and 
his stable mates seem to get a tremendous lot of 
fun out of work. 

Disney is “Walt” to most of his staff. He is 
always ready to discuss new ideas with them. 

The memory, incidentally, of two sober-faced 
and otherwise sane young men madly dancing the 
tango up and down the studio floor while Disney, 
in an open-necked shirt and the shaggy wool 
sweater he always wears and a corps of artists 
stood by, pad in hand, in order to get the correct 
body movements has remained an abiding joy to me. 

Disney’s staff at 

work on a Mickey 
Mouse picture. 

Nevertheless, the studio is the 
last word in efficiency and modern 
equipment. It cost something like 
£40,000 to build. 

Disney refuses to let his men 
work overtime. He keeps a much 
larger staff on hand than is 
necessary so that his artists may 
have plenty of time to play with 
new ideas. 

“We work together informally,” 
he says. “We’re not trying to be 
individualists too much. We all 
do the job together and I get 
the credit and they just get the salaries. 

“I have about fifty artists and animators. We 
work out new ideas at lunch often. Some of the 
men plan the plots, sortie do the musical back- 
grounds, and others spend their time hunting for 
material. I work with them, my time being divided 
between stores and animation.” 

Some idea of the work entailed in producing a 
Mickey Mouse cartoon that takes you less than 
ten minutes to see on the screen may be gained 
from the fact that between 15,000 and 20,000 
separate drawings alone are necessary to make a 
single reel. The Three Tittle Pigs, for instance, 
took four months to make — longer than Dimer 
at Tight. 

First, as in the case of the Garbo and other 
bigger epics, a story conference is held. About 
twenty-five members of the staff and Disney “get 
together,” ideas are talked over and roughly out- 
lined. Then a regulation “script” is written, gags 
are carefully and thoroughly planned. 

Disney himself does all the assignments. One 


Gala Premiere.” 

draughtsman, he knows, is better at animals, 
another’s speciality is scenery, yet another is an 
expert on automobiles. 

The uncanny synchronisation of the music with 
the movements of the screen characters is also, of 
course, carefully planned. 

The musical director begins to work out the 
musical score at the same time as the plot is being 

Perfect synchronisation is secured by mathe- 
matical means. Every “frame” of film has to 
account both for a certain action and also for the 
music to accompany that action. The rhythm is 
perfect because it is mechanical. 

The artists are divided into three kinds — 
technically known as the animators, the In-Between- 
crs, and the Inkers. 

The animators sit at two long rows of specially 
made desks and work by light that streams in 
through a central glass. They develop the various 
sequences, but draw only the beginning and end 
of each action. Their sketches pass to the In- 
Betweeners who draw the small delicately shaded 

This is an important part of the production. 
Often it takes fifty separate sketches to show 
Mickey open his mouth. The smoothness of a 
cartoon, of course, depends mainly on the number 
of drawings used. 

The artists all work with lightweight, trans- 

parent paper, placed on an illuminated board. The 
light paper and illuminated board are necessary 
because after one drawing has been completed, 
the second piece of paper is placed right on top 
of it, so that the artist can vary his drawing ust 
enough to make the movement — say a smile by 
Minnie — smooth. After the drawings are completed 
they are turned over to a corps of experts — usually 
girls — ^who trace them in ink on celluloid. In the 
case of the Symphonies the tinting is done at this 
- stage. 

Action is photographed by superimposing these 
transparent drawings over the previously sketched 
backgrounds which have been placed under a 

Photographing the drawings is a monotonous 
job as each sketch has to be taken separately. A 
special camera is focussed on to the drawing and 
exposes one frame each time a button is pressed, 
the motor drive being worked through a clutch. 

There are something like a thousand different 
drums and noise machines in the studio to supply 
those “effects” that have proved so amusing to 
audiences all over the world. 

Disney always insists on speaking for his beloved 
Mickey himself That absurd strangulated, gurgling 
laugh that is the distinguishing note of one of 
Mickey’s most popular playmates and the snuffling 
of Pluto when hot on the trail issue in reality from 
Pinto Colvig, who was formerly a circus announcer. 

Mr. Colvig is responsible for most of the queer 
sounds that you hear. 

The voices of The Three Tittle Pigs, 
probably the most widely popular of all 
the Silly Symphonies, came from two girls 
and a man, the latter of course being the wise and 
superior pig who built his house of bricks. 

The amazingly accurate detail of and the truth 
with which the movement of the various animals 
is jxjrtrayed requires much painstaking research, 
which the “Father” of Mickey Mouse and the 
Symphonies himself conducts with a thoroughness 
that would do credit to a great scientist. 

There is one inviolable rule at the Disney studio. 
No living thing may be killed on the place, not 
even a fly. 

The reason is not only humanitarian, although it 
is mainly due to the cartoonist’s well-known love 
of the lesser inhabitants of this earth. 

I have seen him sprawled, happily but unbeauti- 
fully, on the floor deeply engrossed in the move- 
ments of a stray beetle. He spends hours in the 
Los Angeles Zoo with a small motion-picture 

Walt Disney is one of the happiest people I have 
ever met — certainly one of the happiest people in 
Hollywood where happiness usually ends where 
success begins. 

“Why shouldn’t I be,” he said. “I’ve achieved 
the three greatest ambitions of my life at one fell 
swoop. I always wanted to be an actor, a stage 
director and artist. Now I’m an actor because 
whenever Mickey Mouse acts. I’m acting. I’m a 
director, and I’m an artist.” 

M. D. P. 


excellent example of 
Walt Disney’s flight 
of fancy in the matter of 
architecture. A scene which 
is typical of his vivid 
imagination. Below : A 

Heath Robinson-like device 
for egg - collecting from 
F$mny IJttle Bunnies. 

C^HE creator of Mickey Mouse is always at 
his best when portraying animals — an 
example from Birds in Spring. Right : One of the 
most amusing combinations of cartoon and 
melody from NoaFs Ark. 

^ RIO’S chief 
hobby is dancing. 
Above : Dick Arlen 
owes much of his 
success to his wife. 

Dolores ^el 

is credited with Hollywood’s most perfect figure. 
Dolores was born in Durango, Mexico, on August 
3, 1905. Later studied singing in Madrid and 
Paris. Speaks five languages. In 1919 she was 
presented at the Spanish court. 

Later she met her first husband, Jaime del Rio. 
Entered motion pictures by chance after having 
met Edwin Carewe, the director. Her first film 
was Joanna, and her most 'memorable success in 
the silent days was What Price Glory ? 

Most ambitious recent role is Madame Du 

Qeorge cSKrliss 

Son of a printer and publisher, the “first gentleman 
of the screen” was born in London in 1868. He 

appearance in the British pro- 
duction Wellington, is one of 
the events of the year. 

began his stage career at the age of eighteen as a 
“ super.” In 1921 he went to America — has 
played there on stage and screen almost exclusively 
since. He was reluctant at first to appear before 
the camera, but eventually became enthusiastic. 
His first screen role was in The Devil, followed by 
The Silent Voice, The Ruling Passion, Disraeli, The 
Man Who Played God, and The Green Goddess. It was, 
however, in talkies that he came into his own, 
because his voice is one of his greatest assets. 
His appearances in such features as Disraeli and 
The House of Rothschild will always be memorable. 

"^^chard <SKrlen 

Coming ‘from'Texas oilfields with 22 dollars in his 
pocket, Arlen sought film fame. He got employ- 
ment as a film laboratory worker, and then as an 
extra, and finally as a bit player in Vengeance of the 
Deep. His work was so good after this that Para- 
mount gave him a contract. He was cast for the 
leading role in Volcano, but after eight days on the 
set it was taken from him, and that nearly broke 
his heart. His wife, Jqbyna Ralston, stopped him 
from leaving pictures, and Arlen fought back and 
won his outstanding triumph in Wings. 




Qlarke Qable 

His career reads like a novel — started behind 
the footlights as a “barnstorming” trouper ; 
played everything from villain to hero ; did 
fourteen shows in one week, and received the 
magnificent salary of $1.30. 

Collected enough nickels for the telephone 
company to go to Los Angeles after his stage 
career flopped . . . Barely succeeded in 
“super” job in stage show of Romeo and Juliet 
— a bit in What Price Glory? and a part with 
Lionel Barrymore in The Copperhead. 

Worked as “extra” one day on set with John 
Gilbert, who was making The Merry Widow. 

His chance came when he was given the 
role of Killer Mears in The Past Mile. Was seen 
by Lionel Barrymore, who remembered and 
sent for him. 

Given a screen test and suddenly 
, found fame. 

Gable is now thirty-three. He is 6 ft. 

1 in. tall and has brown hair and grey 
eyes. Hobbies are riding, golf, swim- 
ming, and reading. He has added a 
racing stable to them this year. 

■ (fJ^Larion (fJtiarsh 

Marion’s film career is a Cinderella story that has 
not yet contrived to catch up with the happy 

It really started when John Barrymore, looking 
for an actress to play Trilby to his Svengali, chose 
her from sixty candidates. 

She gave an excellent account of herself, and before 
very long she was rushed into stardom in Under 
Eighteen before either she or the public were ready 
for it. She has also been handicapped by ill-health. 

Miss Marsh has recently been doing splendid 
work in British studios. Actually, she was born on 
British soil — Trinidad, on October 17, 1913. 

Her baptismal name was Violet Krauth. She 
went to America when she was ten, attended the 
famous Hollywood High School, which has pro- 
duced a number of stars, and entered films through 
the extra ranks. She had had a small part in 
Whoopee, but- was practically unknown in the 
studios when Barrymore “discovered” her. 


yean barker 

Jean’s career is one of the great romances of the 
studios. Some time ago, among other school girls, 
she was chosen to ride on a floral float at a Los 
Angeles pageant. A producer happened to spot 
her in a news reel of the event, and she was given 
a test. She completed her first two pictures while 
she was still at school. Her “Beth” in 'Little 
Women will long be remembered. 

The screen’s latest Cinderella was born in Montana 
eighteen years ago, but her family moved to Los 
Angeles and she grew up almost in the 
’ shadows of the studios. Her, original 

' ^ ambition was to become an artist; 

\ she has great natural talent for 


painting, and has won 
prizes. Her real name is Mae 
Green, but her friends call her 

Edward Everett ^^orton 

This brilliant comedian does not come of 

theatrical stock. His parents were opposed 

to his going on the stage at all. He made 

his debut while at college in a “silly ass” 

part. The amateur show was put on in 

New York for a week, and that decided 

Horton’s future. It was the 

stage or nothing. He played in 

light opera and barnstormed 

from New York to New- . ^ 

foundland. His first stage 

success was in Three Weeks 

and he made a name for — 

himself on the screen as 

Ruggles in Rubles of Red 

Gap, having gone to 

Hollywood to prospect V 

the possibilities. Now he ” 

combines stage and screen ‘ 

work with equal success 

and popularity. 


Y^tharine ^^J\epburn 

Came into prominence in 
! her first picture. Bill of 
Divorcement, and justified the 
optimism of her supporters 
by her brilliance in Little 
Women. Considered by many 
critics as one of the greatest 
of our screen actresses. 


artiste whose presence and activity manages to 
C/utU \j\u7 Ulrl^ make even an indifferent picture seem good. She 
was an instantaneous success in her first picture. Holiday, and scored her 
greatest acting success in The Woman in His House. She is seen here with 
Dickie Moore in Gallant Laefy. 












M ovie players who are adored by the 
public confess that they themselves have 
heroes of their own. 

They know what it is to be the objects of the 
adoration of a hero-worshipping public, and yet 
many of them have ambitions some day to meet 
the object of their interest, to talk with him or her, 
and (just imagine I) to get an autograph. 

Naturally in America, President Roosevelt has 
many admirers among the film stars. He has 
earned the plaudits of such celebrities as Mae West, 
Mary Boland, and Fredric March. 

“He has a fighting heart if ever a man had one,” 
said Miss West. 

Mary Boland wants “just five minutes conversa- 
tion with that man, more than anything else I can 

Miriam Hopkins leans towards literary tastes. 
“Ernest Hemingway is my idea of a modern 
hero,” she says. “He wrote and held tenaciously to 
his unique art as a writer until his sincerity and 
style convinced publishers and the reading public 
that he had something to say.” 

Madame Curie, the discoverer of Radium, is 
the object of Claudette Colbert’s interest. Miss 
Colbert admires her compatriot not only for her 
achievements and contributions to the world of 
science, but also for her bravery in working with 
this dangerous element. 

Herbert Marshall’s “star” is Lindbergh. “He 
is my favourite,” says Herbert, “not only as a trail 
blazer in aviation, but largely because he accom- 
plished the great feat of remaining a human being 
and ‘being himself’ after a tremendous overdose 
or personal publicity.” 

The unsung scientists — those microbe | 
hunters of laboratory and hospital — are the \ 
heroes of Gary Cooper. i 

“These fellows,” he says, “ who don’t give 
a whoop about wealth and glory and risk their 
lives as they save thousands from disease and / 
pestilence, seem more heroic to me 
than all the generals and statesmen in y 
history.” X 

Charlotte Henry, the Alice of Alice 
in Wonderland, gets excited J t W ' 

every time she thinks of 
Admiral Byrd, the famous 
explorer. “He is the one 
man I’d enjoy meeting,” says 

is a 

FranWin Roosevelt fan. 
So is Mae West (le/t). 
B«Iou» ; Charlotte Henry 
and Claudette Colbert, 




C^HE costume-play cycle is now 
in full swing ; here the writer 
discusses the pros and cons. 

from The Scarlet 
Empress, where Catherine 
(Marlene Dietrich) is pre- 
sented to the Empress by 
her mother. 

R Y 

H I S T O 

on the screen 
in a rather different 
manner to the 
accepted meaning 
of the term ; in 
another film cycle, 
in fact. In the 
silent days 
history was 
not drawn on 
as a basis for 
pictures to 
any very 
largeextent, although 
the big Italian spec- 
tacular productions 
generally found their 
inspiration in the 
colourful days of the 
Roman emperors — 

Nero, Caberia, and 

Theodora are cases in point. Napoleon, too, had 
an epic all to himself, and Nelson had two produc- 
tions, with his affair with Lady Hamilton as the 

But, generally speaking, while several costume 
plays were made — such as Robin Hood, The Three 
Musketeers, and so on — the historical characters 
were used as a background, as it were, to the 
romance of fictional or semi-fictional personages. 

This new historical cycle which has descended 
on us, and appears to owe its inception to The 
Private Tife of Henrj Hill in which Charles 

Q EORGE ARLISS as Voltaire, 
the philosopher and satirist, 
in the film of the same name. 

Laughton gave such a 
brilliant character study, 
even if at times it did 
come perilously near 
burlesque, is altogether 

Historical characters are 
taken as the main actors in 
the romance or drama and 
the recorded circumstances 
of their lives are incor- 
porated in the plot. 

The question then arises 
as to how far liberty can 
be taken with these cir- 
cumstances and characters. 

Some people maintain 
that if history is to be 
filmed it should present a 
faithful picture of the 
period and the recorded 
facts ; others are all for a 
wide latitude which will 
allow of facts being entirely 
misrepresented and the 
characters altered to suit 
the demands of romance. 

My own opinion is that 
the former are right — ^to 
an extent. If historical 
subjects are to be screened 
they should be produced 
with due regard to the 
ascertained facts, and 
where a character has been 
familiarised by knowledge 
and portraits, he or she, 
should resemble this por- 
trait and the characteristics 
as nearly as possible. This 
even holds good with fictional characters who have 
had a set of attributes known to all and who con- 
jure up in one’s mind a definite visual photograph. 

For instance, who would stand for a fat Sherlock 
Holmes bereft of his violin and his cocaine. 

Who could bear with a “Scarlet Pimpernel” -who 
had not the lazy indolence concealing the sharp- 
witted , brain and the manners and graces of a 
characteristic English nobleman as imagined in the 
more romantc manner? 

So I do not think it is too much to ask producers 
of historical films to pay the strictest heed to 


tradition and to circumstances concerning 
nature and habits of their central figures. 

On the other hand, there is no reason whatever 
why fictional characters should not be introduced 
into these surroundings to supply the romance. 

After all, it is the glamour of the period and 
the advantage it has of taking us out of our own 
somewhat drab world that is one of the greatest 
assets of the historical picture. 

Incidentally, it has the chance of being of great 
educational value and of giving people an 
idea of what went to the making of the 
country in which they live. 

Not so long ago the B.B.C. broadcast a play. 
The Magnificent Char- 
latan, which was in 
essence a “debunking” 
of Christopher Colum- 
bus. It was charged 
with true drama and 
was definitely gripping, 
yet it adhered in all 
respects to ascertained 
facts both in the build- 
ing up of the title role 
and the atmosphere. 

1 thought at the time 
that here was an excel- 
lent subject for the 
screen — for those who 
cannot be content with- 

/QNE of the most 
Henry VIII — the king’s 
wedding night with 
Anne of Cleeves. 


Above : 

The House of Rothschild, , ; 
and (left) Douglas Fair- 
banks, jun., and Elizabeth 
Bergner in Catherine the 
Great. i. 

out a happy ending and a love interest it would 
be perfectly simple to introduce romance in the 
persons of two fictional characters. 

I have referred to this broadcast because, 
to my mind, it is an excellent example of 

what can and could be 
done in the way of 
providing screen enter- 

The possibilities it 
opens are limitless. 

From Richard Coeur 
de Lion to Wellington, 
how many notable his- 
torical personages are 
there whose life stories 
are full of drama, thrills, 
and human interest ? 

. True, neither Henrj 
VIII nor Queen 
Christina adhere strictly 
to facts. In Henrj VIII 
Charles Laughton took 
a great deal of liberty 
• in presenting the king 
»- _ - almost as a buffoon, 

when one knows that 
he was one of the most 
cultured men of his period. 

In Christina the love romance is without founda- 
tion and had no more todo with her renunciation 
of the throne than the man. in the moon. 

On the other hand, Catherine the Great, in which 
Douglas Fairbanks, jun., gives his best performance 
to date and Elizabeth Bergner once again demon- 
strates what a great artiste she is since the p'art is 
not one to which she is entirely suited, has more of 
the spirit of the truly historical. 

Indeed, as a contrast you can take a picture like 
George Arliss’ Voltaire, which seemed to me to 
fail just because it was not convincing in its 
historical detail. The same thing applied to the 
talkie of Abraham Tincoln, which suffered from an 
excess of sentimental excrescences, whereas the 
earlier silent version was a fine piece of drama, 
strong in the very fact that it did not seek to 
embellish or conceal anything. 

Anyway, you will have the chance of deciding 
what your own feeling to this cycle is, for there 
are plenty of examples already here or on the way. 

L. C. 


"Ronald Qalthrop 

Born in London, 1888. Is a nephew 
of the famous dramatist, Dion Bouci- 
cault. Well-known stage and screen 
character actor. Made his stage debut 
at the Comedy Theatre in 1906. His 
screen experience began in the silent 
days and he has appeared in many 
talking pictures, including 'blackmail, 
Atlantic, Murder, The Ghost Train, 
Rome Express, F.P.l, Orders is Orders, 
and I llEas a Spy. He can be classed 
as one of the most versatile character 
actors on the British screen to-day. 

(fj^lerle Qberon 

Tasmania’s gift to talkies, and 
described by so good a judge as 
Douglas Fairbanks as the most pro- 
mising star on the screen. First won 
wide film fame as Anne Boleyn in 
The Private Eife of Henry Hill and 
followed up that success with The 
Battle and The Private Eife of Don 
Juan. Merle came to England on 
holiday, and until a year or two ago 
had no thought of going on the screen. 
A friend persuaded her to take a film 
test for Paramount and it resulted in a 
small part in Service for Ladies and the 
five-year contract to Alexander Korda 
which has since brought her greatness. 
Has the distinction of being one of the 
best-dressed actresses on the British 
screen, is brunette, twenty-two years 
old, and 5 feet 4 inches tall. 


garner Baxter 

With forty-two talking pictures to his credit, 
Warner Baxter is currently engaged in the 
leading role of No. 43. 

Starting with the memorable In Old 
Arit(pna, Baxter’s star has risen steadily. 
There never has been a time when he gave 
other than a performance rated highly by 
critics and public alike, which is something 
of a record in itself. 

In spite of the constant demand for his 
services, Baxter has found time to excel 
at tennis, amateur cookery, bridge, and 

The screen’s ^(^6,000 a week blonde is the 
brightest star of a famous theatrical family. 
Richard Bennett is her father ; Joan and 
Barbara Bennett, her sisters. She was born 
in New York City and educated in exclusive 
private schools there and in Paris. 

Society was cheated of a reigning belle 
when, shortly after her debut, Samuel 
Goldwyn, film producer, induced her to go 
to Hollywood and enter pictures. 

Her rise to fame was comet-like, but 
she left the screen at the height of her 
popularity to marry Phil Plante, a “play- 
boy” millionaire. The marriage was later 

She returned to pictures shortly after the 
screen became audible and immediately 
soared to sensational favour as a star. 


comedy composer, Sir Arthur Sullivan. Prefers 
the screen to stage. 

Favourite dish, strawberry shortcake ; favourite 
games, tennis and-bridge. 

Formerly married to Carole Lombard. Interested 
in politics. 

Powell recently relinquished a £50,000 a year 
contract to be a “free lance.” 

^etty ^tockfeld 


\Jrsula Jeans 

Ursula was born in Simla, 

India, on May 5, 1906. 

Her real name is McMinn. 

Her career has followed 
the regular lines. 

She came to England for her 
education and trained herself 
for stage work at the Royal 
Academy of Dramatic Art. 

She made her stage debut in 1925 and toured the 
provinces with Owen Nares and Ivor Novello. 
Many successes on the West End stage followed 
and she made her film debut in the silent days in 

Miss Jeans has since worked in both England and 
Hollywood. She went to America at a moment’s 
notice to take a part in Cavalcade. Is a typical 
English beauty, with fair hair and blue eyes. 

Got her first chance in a Chariot revue some years 
ago when she was called upon at a minute’s notice 
to understudy Gertrude Lawrence. 

She won one of those fame-in-a-night successes 
and a few weeks later she was playing one of the 
comedy leads. 

Her first attempt at films was not an unqualified 
success. She went to Hollywood and got herself 
a small part in What Price Glory? 

The expected glory failed to 
materialise and she returned to Eng- 
land to new successes on the 
West End stage. 

Betty’s first big film hit 
was in City of Song. Miss 
Stockfeld possesses the ad- 
vantage of being multi- 
lingual and she spends her 
time between the British 
and Continental studios. 

IsOilliam Rowell 

Height, 6 feet ; weight, 160 pounds ; eyes, blue ; 
hair, dark brown. Nationality, American ; born, 
Pittsburgh. Educated, Central High School in 
Kansas City, Mo., at American Academy of 
Dramatic Arts, New York. 

Took up acting because he wanted to get married. 
First stage part was in Rex Beach’s The Ne’er 
Do-Well. First screen role was with John Barry- 
more in Sherlock Holmes. That was in 1921, and 
he played the role of Morriarty. 

Greatest ambition, security of principal ; favour- 
ite playwright, William Shakespeare ; musical- 




I T is becoming more difficult to break into the 

Net long ago an enthusiastic statistician 
estimated that the chances of film success were one 
in ten thousand. The odds are even worse now. 
The only way to get extra work in Hollywood is to 
register at the Central Casting Bureau. Recently, it 
was made impossible for any newcomer to register 

There are 17,000 extras registered already — 
three times as many as the studios can ever use. 

Only one-half of one per cent, of those who go 
to Hollywood to embark on film careers ever see 
the inside of a studio. 

Even of those who achieve the hardship and 
heartbreak of regular crowd work you can count 
on the fingers of one hand those who reach 


In British studios the extra earns a guinea a day 
— when she is working. The highest-paid extra 
girl in Hollywood, where the rate is higher, last 
year earned an average of £8 a week. She has been 
an extra for six years. 

Out of the money has to come fares, probably 
an agent’s commission, and clothes — an expensive 
item, because an extra has to provide her own 
wardrobe and her clothes are her most important 

That is all rather discouraging, perhaps, but it is 
the most valuable information I can give to any- 
body who, impressed by publicity department 
fiction, is toying with the idea of “going on the 

[Continued on page 58) 




If you are attracted by the glamour and the 
“easy-money” legend, I would advise you to forget 
the films. 

The aspirant for talkie fame must make up her 
(or his) mind that to-day there is no easy road to 
success in the studios and that a screen career 
means hard study, hard work, hardship, probably 
poverty and only a gambler’s chance of success. 

Yes, I know that fortunate young Cinderellas* 
are constantly “winning fame in a night.” The 
publicity department says so, and the publicity 
department wouldn’t lie to you, would it? Well, 
not much. I am constantly reading that Jean 
Harlow was an inexperienced unknown who was 
suddenly put into Hell’s Angels and made a star. 
The truth is that she battled for two years as an 
obscure extra in comedies. Then it was the 
influence of her friend, Ben Lyon, the star of the 
picture, that got her the part. 

I asked her once if she would pass on the benefit 
of her experiences. She has been through the mill 
and her advice should be considered by anyone 
who is thinking of buying that ticket to the film 
capital. In brief, it was, firstly, get some profes- 
sional experience of acting ; secondly, arrive in 
Hollywood with enough money to support you 
for at least a year ; and, thirdly, stay out of the 
extra ranks if possible, “because very few extras 
make a living.” 

I don’t think that I can do any better than 
elaborate that advice. 

For those who are still determined to go on the 
films there are three main ways of going about it: 

via the “crowd,” by acquiring a stage reputation, 
or by winning a beauty contest. 

Of the three, the safest and surest is by the stage 

, Even if you decide to take your chance in the 
extra ranks, some sort of theatre background is 
valuable ; not only because of the training, but 
because it gives you some standing at the casting 
offices and at the agencies. 

In London practically anyone can get one job 
at least as an extra. The best — and only — way is to 
go to one of the big agencies. (It is, I may say, 
quite useless going to the studios.) 

Provide yourself with a photograph (head and 
shoulders only and ten by seven inches in size). On 
the back of it write your name, address, telephone 
number, age, height, weight, colouring, experiences 
and any such special accom- 
plishments as dancing or 
riding you may possess. 

If the agent is “registering” ^ 
that day, your name may go , ^ 

on the list and in a week or a 
month you may receive 


to struggle for 
success. Right : Alice 
White was a studio 




curt post-card telling you to report at the 
studio on a certain day and instructing 
you what to wear. 

Hundreds of thousands of girls have 
tried it — and a handful have achieved 

To-day the ranks of the potential stars 
are mainly recruited from the theatre. 

Talkies have created a demand for 
stage-acting experience. As Basil Dean, 
one of Britain’s most prominent stage and 
screen producers, put it to me recently 
“the days when you could go into a cafe, 
pick the prettiest waitress, and make a 
screen star of her are over.” 

Nearly all the finest artists in films 
learned their job in the hard but thorough 
school of the stock company. 

It is a gruelling training ground. It 
means heavy work, light pay envelopes, 
uncertainty, ceaseless struggle. 

But after it you will at least be equipped 
to seize your opportunity in films — if and 
when it comes. 

When a hitherto obscure actor or actress 
makes a name in one picture, the studio 
people call it a “lucky break.” There is 
always an element of luck in these things, 
of course, but in nine cases out of ten the 
player is able to take advantage of the 
chance only because they have the training. 

There remains now the beauty contest route — 

/OCCASIONALLY contest winners make 
good, like Molly Lamont (right) and 
Judy Kelly. Molly is. greeting Judy on her 
arrival from Australia. 

the most difficult of them all. The record of beauty 
contest winners in the studio is a mournful one. 
A few players like Clara Bow, Judy Kelly, and 
Molly Lamont have made good, but hundreds of 
them have failed. 

The movie moguls periodically set up the 
clamour for “new faces.” It helps to keep the 
reigning stars in their places and it does not do any 
harm except to the unfortunate people who believe 
that they mean it. 

They hold “new face” contests, choose somebody 
who looks like Constance Bennett, and then forget 

The winners are usually given short-term 
contracts. The studio in most cases sticks 
to the letter of the agreement, provides a 
few bits, and then quietly drops the player. 
The contract usually stipulates nowadays 
that the aspiring star must leave Hollywood 
on its expiration. 

A recent “Miss England” told me 
the other day that when she and other 
British winners of a world-wide contest 
arrived in the film city and reported 
the publicity department had for- 
gotten all about the contest. They 
were busy on a new “stunt.” 

Less than a dozen of the three 
hundred girls who have been 
taken to Hollywood as a result of 
contests this year will have a chance 
of getting into pictures at all, 
{Continued on page 60) 

Q E O R G E 
who gives you 
some sound ad- 
vice on break- 
ing into the 

according to the casting offices. There seems to be 
a general belief that the best way to succeed in 
Holl}'wood is to get some sort of a job in the studio 
and then, day by day, put themselves in the way of 
famous directors and producers. 

A few players — like Ahce White, who was a 
script girl, and Dorothy Wilson, who was a 
stenographer — have actually succeeded in breaking 
into movies that way. 

But there are thousands who never catch a 
direaor’s eye. One of the successful ones, incident- 
ally, told me that actually she earned more money 
as a stenographer. 

Few stars know the studios better than George 
Bancroft. I asked him about this route to film 
fame once. 

“Twelve years ago, I remember, there was a 
pretty girl who secured a position as telephone 
operator in a major Los Angeles studio,” he told 
me. “She was charming, had beauty of an unusual 
sort, and was of such a lovable and sweet disposition 
that many of her friends thought surely she would 
‘catch on’ in Hollywood. 

“ She tried desperately to get parts in 
pictures, but failed. However, she got to know 
scores of famous actresses, actors, and directors. 
She learned all their private business from 
handling their telephone messages. She attended 
many social events where she had further op- 

portunities to make influential friends. 

“The other day, when things re-opened at this 
old studio, I met this girl again. Time had changed 
her somewhat, but she still retained much of her 
former beauty. She was still a telephone girl, and 
a good one ; but had given up her dreams of becom- 
ing a star.” 

“Well, what is the moral ? ” I asked him. 

“I mention this girl — and she’s a real Hollywood 
girl, too,” he went on thoughtfully, “ to bring out 
this point. If you are going to be an actress, start 
out in life, by being one. Don’t try to crash the 
front door by chmbing in through the rear window 
and hoping that some good, kind gentleman will 
recognise your hidden genius. Train yourself 
from early years for the part you want to play in 

With that advice from one who knows, I think 
we might leave the subject, except for a word about 

Half the letters people prominent in the film 
business receive are from screen-struck adolescents. 
The other half are from parents who think their 
George or Gladys is wonderful and much cleverer 
than Jackie Cooper. 

The chances of a boy or girl achieving success 
as a juvenile player is one in two thousand. 

Central Casting, where the studios turn for all 
“extra” and “bit” players, lists about 1, 400 children. 


Sometimes a child like Shirley Temple, 
the four-years-old Fox discovery, “gets 
a lucky break.” 

Most of the children follow the same 
rough path trodden by many of to-day’s 
great pictures names — that is, from 
“extra” to “bit player” to “parts” to, per- 
haps, “featured player” or even “star.” 

Right now the listings at the bureau are entirely 
full. Miss Ruth Campbell, in charge of them, 
accepts only registrations of children of six months 
of age or over. 

Is training necessary ? Well, Shirley Temple, at 
four, has been trained in dancing and singing. 

Mrs. George Temple, her mother, as a matter 
of fact, declares that she had no screen ambitions 
for her daughter, who is now earning £2Q0 a week. 

She sent her to a Los Angeles dancing school 
when she was three, and it was there that the 
studio “ scout ” discovered her. 

Mrs. Cooper, on the other hand, believed that 
Jackie had something to give the films and she 
hawked his talents round the studios for months 
before she could persuade them to give him a 

Eventually he won a contest out of five hundred 
children and was given an opportunity in “ Our 

The youngest child to be signed up on a long 
term contract is two-and-a-half-years-old Juanita 
Quigley who made her first appearance with 
Claudette Colbert in Imitation 
of ~Life. She had natural “talent” 
and can speak French and Span- 
ish — naturally with a limited 
vocabulary. She is, of course, 
a prodigy. 

Cora Sue Collins’ mother 
drew an advance on her hus- 
bands’ salary to take the child 
to Hollywood. Many other 
^ motion-picture children receive 
only the actual training which 
experience on the sets bring. 
They learn their profession from 
hard work. Brown, who “dis- 
covered” Jackie Cooper, among 
other noted juvenile stars, 
believes that too much training 
early in a child’s career is apt 
to make him, or her, unnatural. 

“ Training for talented 
children is essential,” say Brown, 
“but I believe they should begin 
it after their talents are 
definitely ascertained. In 
Shirley’s case, for instance, she 
naturally turns to dancing and 
singing, and is a remarkable 
little actress. Other children, 
however, might be harmed definitely by concentra- 
tion on anything except acting.” 

In conclusion, the best advice I can give to the 
aspiring movie star is — “ Don’t.” 

Above : 

Q HOPEFUL extra 
visiting the casting 
department at First 

Right : 

r ITTLE Shirley 
^ Temple. The 
chances of a juvenile 
achieving success are 
one in two thousand. 

between the ages of six months and eighteen years, 
the latter age being that at which it is no longer 
necessary to obtain working permits from the 
Los Angeles School Board. 



n^ON JUAN at the 
height of his career 
as a great lover, with the 
dancer, Penita, played by 
Merle Oberon. Her 
Castanet dance-is one of 
the attractions of this 
ambitious production. 

as Don Juan, toasts 
his wife (Bcnite 
Hume, second on his 
right) and his many 
lovely conquests. 
Some idea of the 
colourful costumes 
and artistic settings 
can be gained from 
this still. 

Right ; 

LOVE scene 
with Carmen 
(Joan Gardner), 
another of the fair 
women who fell to 
the arch-charmer’s 

•1-^ way of deal- 
ing with the 
infuriated husband 
of a lady who has 
bestowed her 
favours on him. 

steward, who 
remains loyal to 
him throughout 
his many vicissi- 
tudes, leads the 
huslrand away. 








' -Get- ''^ thf. 

■^-2> V4>i .r -4 



'-'•^ • -- ■- '• •-*• :r 

Qharles (l^aughton 

will probably be remembered 
all his life as “ Henry VIII,” 
because of his triumph in The 
Private Tife of Henry Hill. It 
was his playing in this film that 
brought him world acclaim. He 
is one of the best actors on the 
istage and screen. A Yorkshire- 
man by birth, he trained for 
hotel management, but the lure 
of the theatre was too strong, 
and he made his debut at the 
age of twenty-seven. America 
first discovered his ability as a 
film actor. 

pranas H^ederer 

was a Continental importation 
to London, where he scored a 
tremendous success in the stage 
version of Autumn Crocus. He 
became a matinee idol and was 
secured for screen work by 
Radio Pictures. He had made 
films on the Continent and in 
this country, but was almost 
unknown to picturegoers until 
his first Radio production, Man 
of Two Worlds. 

HjOynne Qibson 

Won the plaudits of Broadway for 
her performance opposite Richard 
Bennett in Jarnegan. At the same 
time she made her screen debut 
in Nothing But the Truth. Wynne 
was born in New York and has 
had an extensive stage career. 
Her recent pictures include The 
Crosby Case, Sleepers East, and 
Cupid in the Rough. 




^ chose Its own 
“Baby Stars” for 
1934. Left to right; 
the late Dorothy 
Dell, Evelyn Ven- 
able, Helen Mack, 
Elizabeth Young 
and Frances Drake 
Ida Lupino was 
also chosen. 


in the 


Q^HIRTEEN girls are gambling with super- 
^ stition, with wealth and world fame as the 
pri^e for the winners and heartbreak and 
oblivion ahead for the losers. 

T he other day thirteen lucky girls were 
elected Wampas Baby Stars for 1934. 

For them in the coming months has been 
opened up a glittering vision of fame and fortune. 

Election by the Wampas, an organisation of 
Hollywood publicity men, means a valuable 
publicity campaign and a chance to make good in 
the studios. It places their feet on the ladder of 
screen success. 

Some of the greatest stars in pictures have 
climbed to recognition on that Wampas ladder. 

Watch out for these names when you study the 
cast lists at your kinema : Judith Arlen, Betty 
Bryson (she is a niece of Warner Baxter), Jean 
Carmen, Helene Cohan, Dorothy Drake, Jean (^le. 
Hazel Hayes, Ann Hovey, Lucille Lund (a “Miss 
America” beauty contest winner), Gi Gi Parrish, 
Lu Anne Meredith, Jacqueline Wells, and Katherine 

It is early yet to say if the selection committee 
has done a good job of “wamping” — most of the 
girls are still unknown quantities — but since 1922, 
when the first “baby stars” were chosen, some of 
the screen’s most illustrious names have come from 
the Wampas nursery. What has the future in 

store for the latest 
crop ? 

The history of 
the Wampas stats 
is one of triumph 
and heartbreak. 

The Wampas 
turned out good 
guessers the first 
time. Of the baby 
stars of that year, 

Colleen Moore, 

Claire Windsor, 

Mary Philbin, Patsy 
Ruth Miller, Lila 
Lee, Lois Wilson, 

Pauline Stark, and Bessie Love all achieved varying 
degrees of success. Colleen Moore, indeed, 
became the highest-paid feminine star on the 
screen within a few years. But who remembers 
little Marion Aye, Kathryn McGuire, and Louise 
Lorraine to-day? 

In 1923 there were fewer names destined for 
major stardom and more for oblivion. True, they 
{Continued on page 68) 

«yEAN CARMEN, one of 
J this year’s Wampas 



^ DITH was for- 
merly a dancer and 
once understudied 
for Betty Compton 
in one of New 
York’s noted hits. 
Fifty Million French- 

picked Eleanor Boardman, Jobyna Ralston, Laura 
La Plante, and Evelyn Brent. Eleanor still makes 
occasional appearances in pictures, Jobyna married 
Richard Arlen and was a proud wife and mother 
when I met her the other day, Laura La Plante has 
been working in England, and Evelyn Brent 
achieved a fair measure of success although she is 
not seen so often now. The others that year were 
Ethel Shannon, Virginia Brown Faire, Pauline 
Garon, Dorothy Devore, Betty Francisco, Kathleen 
Key, Helen Lynch, Derelys Perdue, and Margaret 
Leahy. Margaret was the English beauty who, 
amid .much ballyhoo, was taken to Hollywood by 
the Talmadges. She played in one Buster Keaton 
comedy and went back to obscurity. The others 
have nearly all dropped out of sight. 

The 1924 list was notable exclusively for the 
discovery of Clara Bow, the greatest and possibly 
the most tragic of all the Wampas babies who went 
on to win major stardom, and Dorothy Mackaill. 
Marian Nixon, who has won a steady if not sensa- 
tional popularity, was another selection that year. 

Poor Lucille Ricksen, who showed greater pro- 
mise than anybody except Clara that year, died of 
pneumonia shortly afterwards. She was only 

Alberta Vaughn, too, might have been a winner, 
but they say that an over-officious manager talked 
her right out of the studios. The names of Carme- 
lita Geraghty, Ruth Hiatt, Hazel Keener, Blanche 
Mehaffey, Eleanor Fair, Gloria Grey, Julanne 
Johnston, and Margaret Morris never reached the 
larger electric lights. Most of them are all but for- 
gotten now. 

The following 
year produced 
only Olive Bor- 
den and Dorothy 
Revier. Olive 
looked like be- 
coming a big star, 
but her fame did 
not last. Dorothy 
Revier became 
the queen of the 
“ quickies ” — she 
starred in Poverty 
Row, Holly- 
wood’s name for 
the small indepen- 
dent studios. 

It would, per- 
haps, be kinder to 
pass on quickly to 
1926, which was 
the Wampas vint- 
age \ear. It will, 
I think, be a long 
time before that 
crop is equalled. 
The selections in- 
cluded Janet Gay- 
nor, Joan Craw- 
ford, Dolores Del 
Rio, Fay Wray, 


holds a Bachelor of 
Science degree and has sung 
in opera for several seasons. 
Below ; Helene Cohan. 



Mary Brian, Mary Astor, Sally O’Neill, Marceline 
Day, Joyce Compton, Sally Long, Dolores Costello, 
.Vera Reynolds, and Edna Marion. Janet and Joan 
are still among the world’s five biggest box-office 
stars, while most of the others achieved outstand- 
ing success and are still a “ draw ” in pictures. 
Sally Long has dropped out, however, and 
so has Edna Marion, who drifted into “shorts.” 
Dolores Costello is now content to be Mrs. John 

Since the coming of talkies the prestige of 
Wampas Baby Stardom has slumped somewhat. 

Since 1927 the only selections who have subse- 
quently carved a niche for themselves in the hall of 
film fame are Sally Eilers, Lupe Velez, Anita Page, 
Loretta Young, ‘ Joan Blondell, Frances * Dee, 
Constance Cummings, and Karen Morley. 

None of them have achieved the sensational 
popularity of the Crawfords and Gaynors, but they 
have been a decided asset to the screen. 

Marion Marsh, another post-talkie selection, 
seemed likely to become a headline star, but they 
rushed her too fast. She may do it yet, however. 
She is still under twenty-one. 

In 1933 the Wampas chose fifteen names : Lona 
Andre, Lillian Bond, Mary Carlisle, June Clyde, 
Patricia Ellis, Ruth Hall, Eleanor Holm (an 
Olympic Games swimming champion), Evalyn 
Knapp, Dorothy Layton, Boots Mallory, Lillian 
Miles, Ginger Rogers, Marian Shockley, 

Gloria Stuart, and Dorothy Wilson. 

The last-named was a stenographer at the 
Radio company studio when she was dis- 
covered by an executive. She scored a 
minor hit this year in 'E.ight Girls in a Boat. 

Ginger Rogers has won wide fame already, 

Gloria Stuart, Evalyn 
Knapp, and Patricia 
Ellis are regarded 
as “promising,” and 
most of the others 
still have a chance 
to “get into the big 

And so we come 
back to the “babies” 
who, in 1934, are 
facing the future 
with new hope and 
ambition. This year 
the Wampas de- 
parted from custom 
by choosing only 
players not under 
contract to the big 

Will it be a lean 
year or another 1926? 

Time alone can tell, 
but in the mean- 
while we wish them 

We’ll be seeing 

Malcolm D. Phillips. 


a native daughter 
of Hollywood. 
Below : Betty Bryson, 
of Los Angeles, who 
is a niece of Warner 

bom in Seattle, 
Washington. She is 
a graduate of the 
University of Wash- 
ington, and played 
leads with the Seattle 
Repertory Playhouse. 

tjslie fuller 

first achieved fame with his pierrot troupe, Margate 
Pedl’ers, and it was while playing with them that 
he was discovered by B.I.P. The pierrots had their 
origin during the War, in France, and after the 
Armistice Leslie Fuller collected his old comrades 
and carried on. They were called “Pedl’ers” 
because Fuller was a lieutenant in a cyclists’ section 
overseas. His films have included such successes 
as Old Soldiers Neper Die, Poor Old Bill, The Last 
Coupon, To-night's the Night, and many others. 

Qarole ijombard 

A Hollywood society girl who was once a 
bathing beauty on the Mack Sennett lot, 
allowing herself to be chased for a year and a 

Hollywood’s hard-luck girl. Mae’s career has 
prospered despite long spells away from the studios 
through serious illness when she was just getting 
ahead. Once, not long ago, when she was on the 
verge of stardom, she had her jaw broken and was 
in hospital for weeks as a result of an automobile 

Mae hails from Atlantic City, where her father 
was a kinema organist, but she went to New York 
at the age of fourteen to go on the stage. She was 
“chaperoned” in those days by Barbara Stanwyck, 
who has been her friend, tutor, and guide ever 
since they were struggling youngsters on Broad- 
way. Miss Clarke danced in the chorus of musical 
comedies until Barbara sponsored her entry into 
the dramatic theatre by getting her a job as her 
understudy in The Noose. 

They went to Hollywood about the same time. 
Barbara found film fame first, but Mae followed 
soon after in The Front Page. 


; > 







(fM^argaret ^ullavan 

The discovery of the year and one of the great- 
est discoveries since talkies, who created a 
sensation in Only Yesterday. Margaret went on 
the stage against the wishes of her parents, who 
had found her a job as librarian. She started 
with a troupe of young college players, then 
she got a part with a touring company and 
finally reached Broadway, where she scored a 
hit in The Modern Virgin. That success led to 
her being snapped up for films and her overnight 
leap to stardom. Margaret is twenty-two and 
has brown hair and blue-grey eyes. Her second 
picture is Tittle Man, What Now ? 

Novarro also possesses a fine tenor voice, 
which was trained by Louis Graveure, and he 
plays the violin and the piano. He has four 
pianos in his home, which also, incidentally, 
houses a private theatre which seats sixty. 
Here he stages plays, musical comedies, and 
revues, using only members of his own family 
as principals. 

"^R^mon U^varro 

Was born in Durango, Mexico, February 6, \ 

1899. The Huerta revolution in 1913 forced 
family to flee to Mexico City. Revolution 
wiped out famil) fortunes. Ramon and brother, 
Mariane, went to United States. 

Arrived Los Angeles with ten dollars 
between them. Ramon got a job, singing in a ^ " 
restaurant. Was heard by Marion Morgan, 
dance director, who gave him a place in her 
vaudeville act. Ambition then and always has 
been to be an opera star. 

Ferdinand Pinney Earle saw the Morgan act 
and signed Novarro, then entirely unknown 
— Novarro had made his first big step upwards 
in the screen world. Rex Ingram saw his 
possibilities, made The Prisoner of Zenda with 
him. Novarro scored a sensational hit. 

Afterwards he made Scaramouche, Where the 
Pavement Ends, Trifling Women, and The Arab. 

He is the only star in pictures who stars in the 
English language, and stars in and directs his 
own pictures in Spanish and French. He is a 
master of both the last two languages. He 
also speaks German and Italian. 


^om ^IsOalls 

Born in February, lrf83. As a boy he cherished three ambitions, 
and he has achieved them all — to be a policeman, to be an actor, 
and to own a racehorse. 

He made his first stage appearance in 1905. He won fame 
with his stage appearances at the Aldwych Theatre, and has 
since made a world-wide reputation as a film star and director. 
His recent appearances have been in The Blarney Stone, just Smith, 
Turkey Time, and Cup of Kindness. 

Florence "Desmond 

The girl who became a star by mimicking the stars, has been 
acting since she was ten. A toss of a coin decided her on a 
screen career. She had the choice of a part in the Gracie Fields 
film, Sally In Our Alley, and one in the stage version of Autumn 
Crocus. The coin fell for the film, and Florence nearly stole it — 
the film, not the coin — from the star. 

H,wnel Barrymore 

Was born and reared in the atmosphere of the theatre. It was 
in 1909 that Barrymore first was lured to the screen. From 
that time on he alternated between screen and stage. When 
talking pictures came in, Barrymore’s vast experience made him 
at once an important figure in what was practically a new 







One of the screen’s best-dressed women. Born 
on a Friday the 13th, but is not superstitious. 
Although the daughter of a well-known actress, 
Katherihe Clinton, she was a stenographer before 
she went on the stage. Encountered bad luck for 
a time, and was down to her last ten shillings 
when she secured the role in Gentlemen of the Press 
which made her a screen sensation in a night. 
Walter Huston, with whom she had once played 
in a stock company} helped her get the job. 

Her favourite role is the one she had in One 
]Vay Passage. 


Douglas Fairbanks saw Lupe in a two-reel comedy 
one day, and was so impressed that he signed her 
up as his leading lady in The Gaucho. She was an 
immediate success, and has ever since been one 
of the most popular players in films as well as one 
of the major joys of Hollywood life. 

Lupe was born in Mexico city, her mother was 
an opera singer and her father was killed in one 
of the revolutions that appear to be the national 
pastime. It was Richard Bennett who imported 
her to Los Angeles — to play on the stage. Hal 
Roach, the comedy producer, signed her for his 
“shorts” and it was in one of those modest enter- 
tainments that Fairbanks discovered her. 

Stanley [jipino 

Coming from a famous stage family, Stanley 
Lupino made his debut on the stage as a monkey 
in a pantomime. He made his first actual screen 
appearance in an experimental talkie for Warners’ 
entitled BilPs Day Out, but his real debut was in 
the film version of The Love Race. He has appeared 
on the stage with success in America. His recrea- 
tions are painting and writing. 

Thelma ^odd 

Hollywood’s champion blonde. Thelma, who 
looks more like the popular conception of a film 
star than probably any other star on the screen, 
was once a school teacher in a small Massachusetts 
town. She won a local beauty contest. It secured 
her a chance at the Paramount training school. 
Her first lead brought her to wide popularity. 

Miss Todd made many friends when she came 
here to play in You Made Me Love You. 



One of the younger generation of stage and screen 
actors who has been widely acclaimed both here 
and in America for his acting ability. He scored a 
personal triumph in The Case of the Frightened Ladj, 
in the stage version of which he also appeared. 
Williams was born in Flintshire, Wales, on Novem- 
ber 26, 1905. He was educated at Holywell County 
School, and Christ Church, Oxford. He is a Master 
of Arts. At Oxford he was a member of the 
O.U.D.S. and made his first appearance at the 
Oxford Playhouse in 1927. He is a dramatic author 
as well as an actor and though he has not appeared 
in many pictures his work has always been notice- 
able. In Men of To-morrow he was outstanding. His 
recent pictures include Evensong. 

(fJtlae IjOest 

-The greatest sensation since talkies, was well known 
as a purveyor of daring plays on the New York 
stage before She Done Him Wrong made her 
overnight one of the biggest box-office stars in 
films and the most important screen personality in 
America. She was once sent to prison fonten days 
because of official objections to one of her shows. 
The “come-up-and-see-me-sometime” girl is the 

daughter of a prize fighter. She was born in 
Brooklyn and commenced her professional career 
at the tender age of five. For years she played in 
unimportant touring companies and as a small-line 
vaudeville artist. Despite the lurid nature of her 
screen character, she is in private life one of 
Hollywood’s model citizens. She neither drinks nor 
smokes, and never goes to parties. 

Qary Qrant 

Born in Bristol and was expected to follow. in his 
father’s footsteps as a clothing manufacturer.. Ran 
away from school, however, to join a theatrical 
troupe and toured for a time in a knockabout- 
comedy act. 

Cary went to America as a musical-comedy lead 
and, incidentally, played opposite Jeanette Mac- 

He was persuaded to make a film test while on a 
holiday visit to Hollywood and was put under 
contract by Paramount, making his talkie debut in 
This Is the Night. Grant has since become one of 
the screen’s most popular leading men. Real name 
is Archie Leach. 

Hobbies — music and electrical research. 


Stan [Saurel 

(fM.aureen & Sullivan 

r AUREL • and Hardy in a 
^ characteristic scene from 
one "of their comedies. 


Oliver SKardy 

This Anglo-American team had wide stage experi- 
ence before it became the most famous Comedy 
combination on the screen. 

Stan played in musical comedy, variety, and 
pantomime, and was also a tnember of Fred Kamo’s 
troupe, where he understudied Chaplin. 

The troupe went to America, and Chaplin and 
Laurel stayed to enter the “new-fangled movie 

As everybody knows, Chaplin scored an almost 
immediate success. Stan, not so lucky, went into 
juvenile parts on tour and for a long time nearly 

When, eventually, he did reach Hollywood he 
was employed as a writer-director and actor by 
the Hal Roach studios. 

Oliver’s youth was spent in grammar school, 
high school, military academy, and college. 

His parents wanted him to be a lawyer. However 
Oliver had his own ideas and took to the stage, 
where he played everything and anything. 

In 1913 he was classified at the Hal Roach 
studios as a “heavy.” The pair met and their 
partnership in comedies commenced. The “team- 
ing” of the two comedians, by the way, was quite 
accidental. They just happened to be cast together 
in a two-reeler called Duck Soup and were found to 
be the ideal foils for each other. 

Things do happen this way — but not often. 
Maureen O’Sullivan simply by dining in a cafe in 
Dublin attracted the attention of Frank Borzage, 
the director, who was looking for a heroine for 
John McCormack’s Song o’ Mj Heart, and from 
then on Hollywood lay an open oyster at her feet. 
At first things looked none too good for her — she 
did not show to great advantage in the McCormack 
movie — but Maureen comes from Killarney and it 
was not long before she showed her real worth, 
and she has been climbing ever since. 

Do not think that this dark-haired blue-eyed 
beauty of 5 feet 4 inches is just an unsophisticated 
Irish Colleen. No, she is a young lady with 
savoir-faire, whose position in Dublin as an army 
officer’s daughter brought her into the social swing. 

born on May 17, 
1911, and was educated 
in London, Dublin and 
Paris. Her hobbies are 
tennis and riding. She 
scored another success 
as Johnny Weissmuller’s 
co-star in Tartan and 
His Mate. 



r ION EL COLLIER discusses some out- 
^ — ’ standing productions and players whose 
performances are likely to linger long in the 
picturegoer' s memory. 

I HAVE purposely refrained, in writing this 
article, from consulting the record of pictures 
I have seen during the past year. The stars 
and productions which really count are those that 
linger in your memory. Most filmgoers of my own 
age, for instance, cannot help recalhng such master- 
pieces of the past as The Cabinet of Dr. Caligari, 

The Street, Warning Shadows, The Student of Prague, 

The Niblungen, Kriemhildd’ s Revenge — all the Swedish 
biograph productions — and, earher still, the Chaplin 
comedies. The Fall of Troy, Caberia, and that 
astounding series of blood-curdhng mystery stories 
of a highly coloured, popular order, Zigomar, to 
mention just a few haphazardly. 

So now I am relying on my memory and my 
own impressions, and I must crave your indulgence 
for all those errors of omission and all those of 
commission which you may think not worthy of 

My own experience is that there are fewer 
pictures shown to-day of outstanding merit. 

The talkies seem to have got us into a deeper 
rut than ever the silents did, and there have been 
very few spectacular films in which the sense of 
pictorial expressiveness and camera ingenuity have 
approached that of some of the older masterpieces. 

% ^ 

C-MIL (Rolf Wenk- 
^ haus) tackles “ The 
Man in the Bowler Hat” 
(Fritz Bash) in ILmil and 
the Detectives. 

crowned a meteo- 
ric screen career 
with her por- 
trayal of Jo in 
Dittle Women. 

whose fine per- 
formance in I 
Was a Spy won 
her a Hollywood 


On the other hand, I should say that the quality 
of acting is considerably higher and there is a 
definite tendency for dialogue to take its rightful 
place in the scheme of things instead of dominating 
it, a situation which has arisen from the very 
mistaken idea that every stage play is actually and 
logically a good screen subject. 

The fact is that the reverse is more often the case, 
although there are some notable exceptions, and 
that brings me to one of the greatest landmarks 
of the past year. Cavalcade. Here 

and dialogue were happily 
blended and the scooe 
of the 



C^HE funniest 
picture the 
Marx Brothers 
have ever made is 
Duck Soup. 

C/^HE opening 
scene, with 
Miriam Hopkins, 
Fredric March, 
and Gary Cooper, 
in Lubitsch’s 
Design for Diving. 

used to advantage to present one of the most 
moving commentaries in the past century. 

Incidentally, this picture introduced us to a new 
screen find in Diana Wynyard, whose performance 
brought her world-wide recognition — and a Holly- 
wood contract which, however, it is hardly 
necessary to state is not the hall-mark of a great 
artiste, although it is usually a guarantee of a high 

Incidentally, Diana Wynyard’s later films — such 
as Men Must Tight, Reunion in Vienna, and Rasputin, 
the Mad Monk — have not lived up to the promise of 
her first picture. 

And talking of Rasputin that is the German 
version of the notorious monk’s life. It is a 
notable piece of work, chiefly because of the 
brilliant work of Conrad Veidt in the leading role. 
If I had had the awarding of any gold medals or 
statuettes for the best performance of the year 
I think he would have been my choice. 

And it is not only in that picture that Veidt has 
established himself as one of the notables of the 
year. In I Was a Spj — which can claim to be an 
outstanding British production — he gave a 

performance which must rank as one of the 
of the year. In that picture, too, 
Madeleine Carroll came into her own and 
earned a trip across the Atlantic to 
Hollj'wood, where great things may be 
expected confidently of her. 

Another British picture which 
stands out is Sorrell and Son, a 
sensitive rendering of Warwick 
Deeping’s book. The most 
notable performance in it came 
from Hugh Williams, as the son 
— you remember he played the 
lover exceptionally well in Rome 
Express. He, too, has gone to 
Hollywood, a loss we can ill 
afford since British pictures are 
not conspicuous for their juve- 
nile leads. Still recalling British 
films which have left a well- 
defined impression on the memory, 
we have Channel Crossing, an in- 
genious drama, notable for its technical 
qualities and editing and for the first 
really vital performance Matheson Lang has givea 
on the screen. 

Then there is Henry VIII, perhaps the most 
important of them all, with a practically flawless 
cast, headed by Charles Laughton, whose work in 
this picture places him amongst the great actors 
of the day. 

Also in that picture was Merle Oberon, a name 
that is going to be prominent in the near future. 
She played Anne Boleyn, but good as that per- 
formance was it was completely shadowed by the 
brilliant performance she gave as a pathetic little 
Japanese wife in that outstanding Anglo-French 
production. The Battle. 

Another star — already famous on the Continent 
— also scored heavily in this brilliant picture, 
Charles Boyer. His appearance is certainly one 
{Continued on page 78) 


studio portrait 
of Dorothea Wieck, 
who won fame in 
Madchen in Uniform, 
and followed it up 
with a sensitive, un- 
forgettable perfor- 
mance in Cradle Song, 



{Continued from page 77) 
of the high-lights of the years’ events. 

Returning to the output from the British 
studios we have a worthy successor to Henry 
VIII in Catherine the Great. That leaves an 
impression that Douglas Fairbanks, jun., is 
as good an artist as we always thought he 
was, although it has not been too apparent in some 
of his recent American pictures, while it definitely 
confirms my own impression that Elizabeth 
Bergner is one of the greatest artistes on the 
screen or stage to-day. 

Those who saw it will never forget her 
performance in Der Traumende Mund, which is 
another of the year’s outstanding productions. 

Elizabeth Bergner’s fellow-countrywoman, 
Dorothea Wieck, whose success in Madchen in 
Uniform was sensational, is one of the most 
important assets to the screen of to-morrow. 
Her acting in Cradle Song has fully confirmed 
that opinion. There is one other British picture 
which is still further evidence of the advance of 
our own products — The Constant Nymph. This 
also introduces a potential star in Victoria 
Hopper, whose career will be interesting to watch. 

America has contributed two stars of the first, 
magnitude in Katharine Hepburn and Margaret 
Sullavan. The former in her first appearance in 
Bill of Divorcement attracted widespread atten- 
tion, although her performance was perhaps 
over-shadowed by that of John Barrymore, who 
has done nothing better for a long time. 

Her next picture, Christopher Strong, was 
definitely poor ; but in Tittle Women, which is 
easily one of the finest pictures of the year, she 
came into her own and conquered critics and 
public alike. 

Just in passing I should say that Paul Lukas’ 
contribution to that picture is notable and 
memorable. He is an actor who has not had 
many opportunities, but he has never turned in 
a poor piece of work. 

Margaret Sullavan came into prominence in a 
bound with her work in Only Yesterday. She is 
another example of the tendency nowadays to 
avoid the stereotyped, in looks and in method 
she is as original as she is clever. 

Those are the most important of the new- 
comers. I had hoped to add the Russian actress, 
Anna Sten, who attracted the Hollywood scouts 
by her acting with Jannings in The Tempest 
amongst them, but in her first picture, Tady of 
the Boulevards, she looks beautiful, but is so stereo- 
typed to Hollywood traditions that she has lost 

all her own peirsonality. 

As a matter of fact, the pictures that are likely 
to linger longest in my own memory for their 
acting as well as for their merits of direction 
and production are Berkeley Square and Design for 
Hiving. The former, one of the most spiritually 
I beautiful talkies the screen has given us, contains 
/ two brilhant performances — the one by Leslie 
i Howard and the other by Heather Angel. 

H Design for Living I consider the best all-round 
talkie for treatment and technical skill that has yet 
been made and it gives Lubitsch, the director, back 
that premier position which he held in the silent 

The three leads in the picture — Miriam Hopkins, 
Fredric March, and Gary Cooper — all give rfiemor- 
able performances ; the latter in particular shows 
what strides he has made in the last year or two. 

His advance is fostered by his performance in 
another outstanding picture. One Sunday Afternoon, 
and again in The Eagle and the Hawk, where he 
shares honours with Fredric March. 

Anything Greta Garbo does creates interest. 
Her re-appearance on the screen in Queen Christina 
is therefore an event which is a landmark in the 
progress of the screen, but whether it is such a 
world-shaking event as some critics would have 
us beheve is to my mind open to question. 
Personally, I do not consider it her greatest film, 
nor the finest picture that M.-G.-M. has turned 

Norma Shearer’s Smilitf Thru" is undoubtedly 
one of those events that will be looked back on as 
a milestone, and deservedly so, but I doubt if the 
same can be said of Riptide, which is her contribu- 
tion. after eighteen months absence from the 
studios. Her own performance is noteworthy, but 
the story is not worthy of the talent which she has 
brought to such a successful maturity. 

Of fairly recent comedy films, I consider Million 
Dollar Legs unequalled, followed by the latest 
Marx Brothers effort. Duck Soup. 

I have not space here to deal at length 
with the French and German contributions — 
they are so important that they deserve an article 
to themselves. Such films as La Maternelle, Foil de 
Carotte, and Emil and the Detectives are definitely 
screen classics. 


TflCl C OV famous for her portrayals of Oriental and half-caste 

roles, Myrna Loy was given a chance — which she took 
with both hands — to play straight characterisations in When Ladies Meet and 
Crooks in Clover. Myrna made her debut in pictures under the auspices of Mrs. 
Rudolph Valentino in What Price Beauty ? 




^ango ^ime 

George Raft, ex- 
pugilist, ex-cabaret 
and stage dancer, 
and now nearly ex- 
screen gangster — for 
it was in that role 
that he started his 
screen film career — 
has a chance to show 
his terpsichorean 
achievements with 
Carole Lombard in 
Bolero. Carole is 
quite an “old timer.” 
She started her 
career in 1926 and 
has not been idle 

Harry Willis Crosbj' — 
Bing to you — started 
singing in his college 
glee club, and then 
found that crooning 
was even more popular. 
Anyway, he has 
crooned his way to 
success, and a first 
screen appearance in 
of JoZZ Paul 
Whiteman’s Band. His 
real debut was in Tie 
Big Broadcast, which was 
followed by such suc- 
cesses as College Humour 
and Going Hollyivood. 


^NE of the most glamorous stars on the screen and credited with a petfect figure, 
this aristocratic little Mexican scored her first big hit in What Price Glory ? She 
made another big hit in the colourful romance Bird of Paradise. Her latest films are 
Plying Down to Rio, W’onder Bar and Madame du Barry. She speaks five languages. 


tJlian ^^arvey 

The darling of European filmgoers 
has, so far, not met with the 
triumphs her importation to Holly- 
wood was expected to produce, but 
she has not had the best of luck 
in the matter of material. Lilian 
was born in Muswell Hill, 
London, on January 19, 
1907. She was in Germany 
with her parents when the 
War broke out and has spent most 
of her life there. She first supple- 
mented the family fortunes as a 
ballet dancer. Richard Eichberg, a 
producer, saw a photo of her and 
the result was the beginning of one 
of the most brilliant careers in the 
history of the Continental screen. 
Lilian speaks French and German 
fluently and many of her films were 
made in three languages. 

^ir Qedric ^^ardwicke 

One of the most versatile actors on the 
English stage, Cedric Hardwicke has a true 
sense of characterisation. # 

He always gets under the skin of the 
part he is playing and is never just 

The diversity of the roles he inter- 
preted in Dreyfus and Rome Express are 
an excellent example of this. 

Sir Cedric Hardwicke was born' at 
Lye, Stourbridge, Worcestershire, on 
February 19, 1893. He was educated at 
Bridgnorth School and trained for the 
stage at the Royal Academy of Dramatic 


One of the outstanding stars of the silent era, a 
decade ago, who has carved a successful new career 
for herself in talkies. 

Alice, the daughter of a famous impresario, left 
films for the stage nearly ten years ago and had 
been kept busy on Broadway until a few months 
ago, when she decided she needed a change. It was 
a lucky day for herself and the film public. To-day 
she is one of the most popular character actresses in 
the studio. 

(fJ^iyrna L,oy 

If one were asked to nominate the actress who has 
progressed most in the last two years it would be 
difficult to leave out the name of Myrna Loy, who 
has at last — in films like The Woman In His House, 
The Thin Man and Manhattan Melodrama — broken 
away from the “ Oriental exotic type” shackle that 
hampered her career for years. Myrna was born in 
Montana, but educated in Los Angeles, and her 
professional career began as a dancer in prologues at 
a Hollywood kinema. 

It was there that Mrs. Rudolph Valentino 
discovered her and gave her her first screen role in 
What Trice Beautj. 

cAlice ^rady 

n ^Jenable 

Watch Evalyn (seen below with Fredric March). 
She is expected to go far. Graduated to the studios 
via amateur theatricals. Is the daughter of a famous 
American Shakespearian professor who created 
something of a sensation by refusing to allow her 
to be kissed in screen love scenes. The ban has 
since been lifted. 

This erudite literary authority, however, has not 
quite recovereti from the shock of his daughter 
getting her first film job — a “bit” — by being able to 
say correctly : “Okay, baby. I’ll see youse through.” 

Evalyn first won fame in Cradle Song and she has 
followed up that success in Death Takes a Holiday 
and Double Door. 


If over-practising the violin had not developed a 
serious injury to her left hand one might never have 
heard of Germany’s most glamorous film star. 
Marlene, the daughter of an army officer, had as 
a result to abandon her proposed musical career 
and go on the stage. She had many pictures without 
conspicuous success when Josef von Sternberg, 
the producer, discovered her doing a variety “turn” 
and made her famous in The Blue Angel. 

The Dietrich still plays the violin as a hobby, 
although her private Life is for the most part wrapped 
up in her daughter, Maria, who, incidentally, 
promisingly plays the role of the star’s daughter in 
The Scarlet Empress. 

fredric (ff^larch 

Born in Racine, Wis., on August 31. Graduated 
from University of Wisconsin in 1920. 

Once worked in a bank. 

His first theatrical venture was as third assistant 
stage manager on the David Belasco production of 
Debureau. March succeeded in winning a small 
speaking part in this play and used this as a stepping 
stone to future stage work. 

Shortly after his arrival in Los Angeles in the 
autumn of 1928 to play in The Royal Family, 
March was offered a part in' Paramount’s all-talking 
picture. The Dummy. He accepted and definitely 
cast his lot with the new dialogue pictures. 



(1) Ralph Lynn imitates the deaf Registrar 
who asks him about his marriage licence. 

(2) The Clergyman gives the happy married 
couple (Dorothy Hyson and Ralph Lynn) 
some sound advice. 

(3) Gordon James, the old Grandfather, 
refuses to be put to bed. 

(4) Tom Walls tells Robertson Hare not to 
be so harsh with his daughter. 

(5) Ralph Lynn 
climbs into 
Dorothy Hyson’s 
bedroom to tell 
her he wants to 
marry her. 


ftULIE and Fitz- 
I toy meet in 
Frankfort, where 
he had gone when 
he had heard 
that trouble was 
brewing. Right : 
Mayer Amshel 
(George Arliss) 
original founder 
of the great house 
of Rothschild, 
and his wife 
(Helen Westley). 

Q EORGE arliss in a 

great costume drama 
that is the natural successor 
to his Disratli. The film 
traces the growth of the 
famous banking family from 
1780 to 1815, the most 
colourful period in its 
amazing history. 

official banquet 
is staged in honour 
of the eany victories 
of the Du^e of Wel- 
lington (C. Aubrey 

Above left : 

rtULIE (Loretta Young) tells her father 
/ of her love for Fitzroy (Robert 
Young), Wellington’s A.D.C. Above 
right : George Arliss as Nathan Roths- 
child, founder of the London branch of 
the famous family and head of the house 
of Rothschild. 





(3) Liane (Kay Francis), a 
society woman, who 
has been victimised by^, 
Harry, the unscrupulous 
dancing partner of Meg. 

(4) Harry (Ricardo Cortez) 
and Meg. 

(5) Another of the spec- 
tacuiai ensembles. 

(1) A1 Wonder (A1 Jolson) and Meg (Dolores 
Del Rio), his principal dancer, with whom 
he is in love. 

(2) BriUiantly staged ensembles amplify the 

FORD (Her- 
bert Marshall) 
with Mary 
(Norma Shearer), 
the girl he met 
and married in 
New York, and 
their little 
daughter whom 
he adored. 

f7/,)HILE Lord 
R e X f o r d 
goes to New 
York on business 
Mary arouses her- 
self at Cannes 
with a former 
■' admirer and man 
about town, 
Tommie (Robert 
Vf- Montgomery). 

Above : 

ARY visits Tommie in hospital after his fall in 
attempting to reach her balcony. It is then that 
a concealed cameraman takes a picture which helps pub- ' 
licise the scandal which causes husband and wife to drift 
.apart. Below : Lord Rexford follows Mary to a night-club 
and says that he has decided on a divorce. 

-jO^ARY brings Tommie to see her husband, to. v 
^ convince him that the scandal about them ■ * 
at Cannes had no foundation in fact. Below ; Mary 
is informed that Tommie, in a drunken state, has ' 






phantasy based on 
H. G. Wells’ famous 
novel, which is remark- 
able for its trick camera- 
work and technical 
ingenuity. It was adapt- 
ed for the screen by 
R. C. Sheriff and direct- 
ed by another English- 
man, James Whale. 

CTpfHE Innkeeper 
Harvey) is terrified 
by. the strange be- 
haviour of his 
unwelcome guest. 

last phase. The 
Invisible Man is 
trapped by his footsteps 
in the snow and eventu- 
ally shot down. 

Travers), father 
of Flora and 
tutor to the 
Invisible Man, 
worries about the 
fate of his 

CZTHE Invisible Man 
^^.(Claude Rains) 
tb'anSw at the inn, where 
^ he has come to-experi- 
ment with an antidote to 
the treatineirt which 
made him invisible. 

W^HE Invisible 
Man pleads 
with Flora, who 
loves him (Gloria 
Stuart), to have faith 

(1) Jew Suss (Conrad Vcidt) lays down the law 
to the Privy Council. 

(2) Karl Alexander (Frank Vosper) and Marie 
Auguste (Benita Hume) in regal splendour at 
a court ball. 

(4) Karl Alexander visits Suss to tell him how 
much money he has won at gaming. 

(3) Suss presents a necklace to Marie Auguste as 
a token of his esteem. 


O BRILLIANT adaptation ot Feucht- 
wanger’s famous novel. It is notable 
for the acting of Conrad Veidt in the 
title role and the artistry and technical 
perfection of the settings. It is one of 
the most expensive productions ever 
made in this country. 









I i 

James Qleason 

The popular character artiste has been acting since 
he played child roles in his parents’ theatre in 
Oakland something like thirty years ago. He 
invented the phrase “Is zat so,” but has since been 
forgiven. Incidentally, he was star and producer of 
the play of the same name. He is married to 
Lucille Webster and has a son, Russell Gleason, who 
is also a well-known screen actor. Gleason is a 
keen polo player and owns a stable of ponies. 

John Barrymore 

Son of the late Maurice Barrymore and Georgie 
Drew, both famous in the theatrical world. Brother 
to Lionel and Ethel Barrymore. Educated at Phila- 
delphia, Seton Hall, New Jersey. Studied art in 
London and Paris. Married Dolores Costello, his 
third wife. Has two young children — a boy and a 
girl. Hobbies, yachting and drawing. 

As a young man, John Barrymore disliked the 
idea of the stage, and after some study obtained a 

position illustrating Ella Wheeler Wilcox’s news- 
paper. He made his stage debut at Cleveland’s 
Theatre, Chicago, October 31, 1903, in Magda. His 
first New York appearance was in the same y'ear 
in a play. Glad Of It. In a short time he became one 
of America’s foremost actors. 

He made his screen debut before the War, 
when he appeared in several comedies, including You a Mason ? He scored a personal triumph 
in the dual roles of Dr. Jekjll and Mr. Hjde and 
then appeared with great success in such films as 
Beau Brummel, Sherlock Holmes, and The Sea Beast. 
His recent talkies include A. Bill of Divorcement, 
Counsellor at Law. and Twentieth Century. 





"• 41 ^ 


Comes of an army family, but Ralph preferred the 
stage. After a time, he succeeded in getting a part 
in a touring show at thirty shillings a week. Then 
followed years of struggling and the playing of 
small parts. 

After achieving a considerable measure of success 
in the provinces, Lynn went to America and spent 
five years there. It was whilst appearing in a 
theatrical sketch in Chicago that he was seen by 
Elsie Janis who later on, in London, mentioned him 
to Sir Alfred Butt, whereupon he made his London 
debut in Bj Jingo, and from that time he has 
gradually risen to the position he holds to-day. 
His film debut was made in conjunction with 
Tom Walls and the celebrated Aldwych company 
in Rookery Nook. 

Qenevkve ^ohin 

Was an infant prodigy. Made her stage debut at 
the age of ten. She always wanted a career in 
opera — and still does. Is a business woman. 
Breeds Scotties, which started as a hobby 
and now shows a sizable profit. Designs 
and sews much of her own wardrobe. 

Plays the harp, but says Harpo Marx’s 
laurels are safe. 

Usually plays sophisticated comedy 
roles and is regarded as one of the most 
intelligent actresses on the screen. 

Smokes occasionally. Speaks French 
fluently. Is 5 feet 2^ inches tall, though 
she looks much taller on the screen. 

Weighs 105 pounds, has green eyes, 
and blonde hair (natural). 

c/L daughter, at the in- 
stance of Maudie, poses as 
her mother before her 
manager (Sonnie Hale) and 
his publicity man (Barry 

A LAVISH and faithful adapta- 
Cyi. tion of Cochran’s stage 
success. It takes one back to 
the gay ’nineties, and one of its 
features is a reconstruction of the 
old Tivoli Music Hall. It was 
directed by Victor Saville, who has 
spared no pains in getting correct 
detail. It is a spirited example of 
romantic comedy with music. 

Top right : 

(Y^HE darling of the music- 
O hall stage of pre-war 
years, Harriet Green (Jessie 
Matthews) is given a fare- 
well dinner by her fiance 
(Ivor MacLaren). 


RsRIi 9R 

1 1 ^ 


£31 '** 



Qlark Qable 

Bob and Clark, whOj though 
rivals in the studio, are the best 
of friends, share an enthusiasm 
for horses. Both play polo, 
and Gable has now acquired a 
racing stable. 







1 ! 








Joan Qrawford 

Former chorus girl and film extra and now one 
of the five biggest box-office “names” in films. 
Joan, whose real name is Billie Cassin, was born 
in San Antonio, Texas, where her father managed 
a theatre. She was high-kicking in a New York 
chorus when a talent scout spotted her and she 




was signed to a Hollywood contract. 


Discovered by Maurice 
Chevalier in the Paramount 
studio restaurant and given 
the lead in Plajbqy of Paris. 
Has since developed into one 
of Hollywood’s most sought- 
after ingenues. Born in Los 
Angeles on November 26, 
1911. Went to Hollywood 
on holiday from the Univer- 
sity of Chicago and broke 
into pictures as an extra in 
a picture abc ut university life, . 








^ranchot ^one 

Now one of the most 
popular leading men on 
the screen. Was born at 
Niagara Falls and was 
educated at the famous 
Cornell University. Came 
to films after a successful 
stage career, making his 
first screen bow in To-dt^ 
We Live, opposite Joan 
Crawford. He has played 
in most of. her films since, 
including Dancing Lady 
and Sadie McKee. 










(fj^iary Qlare 

A distinguished stage acress who is an asset 
to British films. 

Born in London in 1894 and made her first 
professional appearance in 1910 on tour, 
coming to the West End in 1912. 

Since then she has appeared with success at 
practically every London theatre. 

Miss Clare will go down in theatrical history 
as the original Jane Marryot in Cavalcade, and 
although the films have not yet offered her so 
great an opportunity she may well become one 
of the greatest character actresses on the screen. 

She was a late convert to the kinema, 
making her bow to the camera in 1931. 

Her work, notably in films like Say It With 
Flowers, has, however, already won wide 

^Wallace ^eery 

At sixteen ran away from school and joined 
Ringling’s circus, where he became assistant 
attendant to their herd of elephants. 

Stayed two years and then trekked to New 
York, where he appeared in the chorus of 
musical comedy and then as a comedian. 

He has a fine baritone voice, but has never 
used it in pictures. 

Played “old women” comics for the old 
Essanay Company, and in 1918 joined the 
Sennett comedy team. 

Played straight characters in silents, such as 
in Robin Hood, and scored his first big talkie 
sensation in The Big House. 

He is fond of flying and is an enthusiastic 

To-day, Beery is probably 
the highest-paid male star on the 
screen. He scores another 
triumph this year in Viva Villa. 








(fMax ^aer 

The heavyweight champion of the world 
fought his first fight when challenged by a 
young man at a high school dance in Cali- 

Max won, and that started him on his 
boxing career. 

It was Jack Dempsey, who had become 
friends with Max in Reno, who brought him 
to Hollywood. He had appeared in pictures 
himself and saw possibilities in the younger 

That his judgment was correct is proved 
by Max’s first screen appearance in Everj- 
Woman's Man, a picture which was built up 
specially for him. 

The fight in that film, which was the most 
realistic that has yet been screened, gave 
Max a chance to fight with Camera, whom 
he was later to beat so sensationally. 

Max is temperamentally like the character 
he portrayed in his first film, and his greatest 
ambition is to become a “man of the 
world.” He is generous and pleasure-loving 
and eminently likeable. 

O character- 
istic studio 
portrait of the 
vivacious young 

<£Knn Dvorak 

Once a chorus girl at M.-G.-M., where later 
she became dance instructress. Joan Craw- 
ford became interested in her, then she was 
noticed by Howard Hughes and given a big 
role in Scarface, in which she scored a 
tremendous success. 

Miss Dvorak was born in New York on 
August 12, 1912, and is the daughter of 
Ann Lehr, once a well-known star. Created 
a sensation when she “rebelled” at the 
height of her fame and left Hollywood for a 

She is 5 feet 4 inches tall, has dark brown 
hair and green eyes. 

Her real name is Ann McKimm and she 
is married to the well-known English actor, 
Leslie Fenton. 

She was educated at St. Catherine’s 
Convent, New York, and Page School for 
Girls, Los Angeles. 



Virginia (as she was christened) just 
missed being an infant prodigy at the age 
of six when her mother went to Holly- 
wood as a scenario writer. Mrs. Rogers, 
however, was wisely determined that her 
I daughter should have a normal child- 


I She was born on July 16, 1911, at 

Independence, U.S.A. 

When the Charleston craze swept the 
world some years later. Ginger rapidly 
became proficient in the art and won a 
local championship that carried with it a 
four-weeks’ vaudeville contract. 

The engagement resulted in an extend- 
' ed tour that finally fetched up on fabled 

Broadway and a part in the revue ToJ) 
' Speed. A talkie talent scout spotted her 

and she was soon in Hollywood. 

In the last year or so Ginger has made 
tremendous strides and she is now 
“sitting on top of the world.” 

She is seen here with Fred Astaire in 
F/jing Down to Rio. 

(SKlice ^aye 

One of the new blonde hopes of Holly- 
wood, who was formerly a singer in 
Rudy Vallee’s band. 

She accompanied the band when the 
crooner went to Hollywood to make 
George White’s Scandals and had a small 
part in that picture. 

Lilian Harvey walked out of the 
production and Alice, rushed into the 
feminine lead, scored a hit that has set 
her on the road to stardom. 

Following that, she was given the 
leading role opposite Spencer Tracy in 
While New York Sleeps, adapted from 
Mrs. Arnold Rothstein’s book, “Now 
I’ll Tell,” which gave her another step 
forward on the path to movie fam.e. 

The newcomer is nineteen years old, 
dazzlingly blonde, and 5 feet 4 inches tall, 
and the wiseacres predict sensational 
success for her. 

She is versatile enough to be able to 
sing, dance, and act. 


(fJKlargot Qrahame 

South Africans claim Margot as their own. 
Although she was born in Canterbury, she 
grew up in the land that gave us Mollie 
Lamont. It was there that Dennis Neilson- 
Terry discovered her while on tour and gave 
her a start on the stage. She signed the 
contract on her fourteenth birthday. 

Later she came to England and graduated 
to the studios by way of small parts on the 
stage. She made her talkie debut in Rookery 
Nook and shortly afterwards won sensational 
stardom in The Lope Habit. 

Margot is known as the “aluminium 
blonde.” She has blue eyes and is 
5 ft. 6 in. tall. 

(fM^aurice Qhevalier 

Took his first dancing lessons twenty 
years ago from J. W. Jackson, who 
once had Charles Chaplin as a member 
of his troupe. 

Gained fame as Mistinguett’s 
dancing partner. Fought through 
the war and gained the Military 

He learnt his English in a German 
internment camp. 

He made a debut in England with 
Elsie Janis in the revue, White Birds. 
For several years he was the stellar 
attraction in Parisian musical revues 
and once appeared in the Argentine. 

Went to America in 1928, to be 
hailed immediately as a star for 
his work in Innocents of Paris. 
Maurice loves an outdoor life, and 
boxing is his favourite sport, and he 
is an authority on it and expert in it. 

His latest picture is The Merry 


flO discovers tfiat ' 
I Mr. Laurence’s 
(Henry Stephenson) 
bark u worse than 
his bite when she 

f oes to visit Laurie 
Douglass Mont- 


'The party that 
Jo’s amateur theatri- 
cals. Above : Jo. 

seeking fame m New 
York, meets the 
kindly Professor 


Louisa M. 
v^Alcott classic 
has been brilliantly 
and faithfully 
brought to the 
screen through the 
masterly direction 
of George Cukor 
and fine interpre- 
Utions by the cast, 
in which Kathar- 
ine Hepburn’s Jo 
is outstanding. 
Little Women is 
definitely one of 
the really great 
pictures of the year 

morning. The 
"Little Women” and 
Marmee. Left to 
right : Beth (Jean 

Parker). Jo (Kathar- 
ine Hepburn), 
Marmee (Spring 
j^ington), Meg 

rFM I c H A E L 
whose first screen 
appearance this is, 
gives a natuiahstic 
pcrforutanro. H? is 
sijfti here, fching <?ff 
the etigc <tt c. cCfE. 

CTlfARPpONING shark, 
vv I- “Tiger King" Orlniahi- 
whe' r^fesents the manhoo4i^ 
Aran . in ciheir*^ontinuoi3riight 
against the forces o£ hiatvire. 

TYPICAL village on 
Aranmore, where J. G. 
Flaherty spent two years filming 
imtcrial for this production. 


RA.ME. the wife 
of “Tiger King,” with 
her two children. She 
works as hard as the men 
at tilling the sparse soil. 

^ FINE study of Maggie 
Dirrane who. although 
entirely untrained, is completely 
at ease before the camera. 

^ONE of the most .thrilling episodes 
fp this study of the men and 
•conditions on Aranm yre is tbe'T^'o*. 
day fighf^x’Uh^ tie"lslandefs 

CDDIE CANTOR’S comedy con- 
^ tribution for 1934 transplants the 
star to the Imperial Rome of the 
Caesars, where among other things he 
is sold in the slave market and is 
eventually appointed food taster to 
the Emperor Valerius — no sinecure 
in view of the fact that the charming 
Empress Agrippa is determined tt^ 
poison her spouse. 

CDDIE wins the Colos- 
seum and most , of the 
Imperial jewels from the 
Emperor at dice. The 
Emperor is Edward Arnold 
and the Empress, Verree 


(qreta Qarbo 

To many filmgoers, the 
most important event of 
1934 is the return to the 
screen of the Garbo. The 
Swedish star re-establishes 
herself as the outstanding 
personality of the talkies 
in Queen Christina, for 
which you see her “ in 
character ” here. 

FTER an absence of over 
year, Greta GarEo 
re-ascends her throne in the 
glamorous, historical romance. 
Queen Christina, under the direc- 

^dNTONIO (John Gilbert) Ambassador from 
the King of Spain, recognises in Queen 
Christina, when presenting his credentials, the 
woman with whom he had had an affair at a wayside 

A AGE (C. Aubrey Smith) Christina’s 
personal bodyguard, looks after her 
with the tenderness of a woman. 

tion of Rouben Mamoulian. 
It is notable for its brilliant 
direction and magnificent pic- 
torial settings.- Incidentally, it 
marks John Gilbert’s return, as 
a romantic hero, to the screen. 

/IT an inn, where she had masqueraded as a youth. Queen 
Christina, throwing aside her disguise, falls in love with 
Antonio, without disclosing her identity. Below : The duel in 
which Magnus (Ian Keith), the queen’s disappointed lover, kills 
Antonio, who had planned to leave Sweden with her after she had 
renounced the throne. 

mother and 
father, Countess 
Elizabeth (Ruth- 
elma Stevens) and 
Prince August (C. 
Aubrey Smith). 

O N her way to 

th<> Russian 

the Russian 
court, where she 
is to marry the 
Grand Duke, the 

young Catherine 
(Madene Diet- 

(Marlene Diet- 
rich) falls in love 
with Ae Empress' 
courier, Alexis 
(John Lodge). 

is introduced 

to the half-witted 
Grand Duke Peter 
(Sam Jaffe), her 
amidst the fantas- 
tic decorations of 
a barbaric court. 
Below : 

C ATHERINE wiA the officer 
(Gavin Gordon) 'wth whom she 
has an affair and who is instrumental 

in raising the troops in revolt and 
placing her on the throrilf. 


C ATHERINE as a chUd. Played 
by Marlene Dietrich's little 
daughter, Maria Sieber. 

I^ietrich ^ 

A striking 'study of 
the beautiful. Ger- 
man star, as she 
appears in The Scar- . 
let Empress, Joseph ^ 
von Sternberg’s ^ 
brilliant conception ^ 
of the life of Cath- 
erine the Great of ««(( 

adaptation of Pinero’s play, The Alagistrate. 
and one of the best British comedies of 
the year. Directed by Thomas Bentley, who has 
attained the atmosphere of the Gay Nineties 

C^HE Magistrate (Will Hay) presides 
^ over the court on the morning 
when his wife and his sister-in-law are 
charged before him for obstructing the 
police. Be^ow ; A rift in the lute. 
Giptain Vale (Claude Allister) quarrels 
with his fiancee (Angela Baddeley). 

C^HE Magistrate’s 
^ stenson fTohn 

— stepson (John 
Mills) initiates him 
and his legal confrere 
(H. F. Maltby) into 
the gentle art of 

Left : 

O GATH A (Iris Hoey), the Magistrate’s wife, 
who pretended that she was younger than she 
really was when she married him, is frightened at 
a dinner-party that the truth will be discovered. 
Above : Agatha goes to a box in a music hall to 
plead with Colonel Lukyn (George Graves) not to 
disclose her age secret. 

^^eather <fAngel 

It has taken Hollywood to dis- 
cover the real acting ability of this 
charming English artiste. Since 
she signed on the dotted line of 
an American contract she has 
given us two outstanding per- 
formances in Berkley Square and 
Springtime for Henty. The wide 
diversity of the roles is a further 
proof of her versatility. 

Qlaudette Qolhert 

The Parisian touch has never left 
this clever artiste, whose acting 
ability has won her wide popular- 
ity, although she was educated in 
America. She makes as lovely a 
bride here as she does a regal queen 
in De Mille’s latest spectacle. 


"^^bert young 

Bank teller, reporter, and salesman, 
he studied acting in his spare time. 
His screen career started when he 
became an extra and he made his 
first big hit in 'Lullahy. Since then 
he has earned a reputation as one 
of the most natural juvenile leads 
of the day. 

Lupe ^ele^ 

One of the few 
Mexican artistes on 
the screen, this viva- 
cious star has the 
leading role in 
Laughing Boy. She 
had her first big 
chance when Doug- 
las Fairbanks signed 
her for a lead in 
The Gaucho. She 
was also a 1928 
Baby Wampas Star. 








^'hen he was studying for the law at the 
University of Washington, where his parents had 
moved from Saginaw, Mich., Robert Armstrong’s 
birthplace, he wrote a skit which led to the screen 
and not the bar obtaining his talents. 

His skit attracted attention and he went to 
New York in production partnership with his 
uncle, Paul Armstrong, noted stage producer and 

He appeared in Alias Jimmy Valentine and 
Deep Purple. After a Broadway hit in Is Zat i’o, 
■“Bob” was claimed by the screen. His ambition 
is to be a film producer. 

He played one, you may recall, 
in King Kong, probably his best- 
known success. Some of the other 
big pictures in which he has 
appeared are Big Nen^s, The Racke- 
teer, Suicide Fleet, The Lost Squadron, 
and The Penguin Love Murder. 


Jean (fM.uir 

Has the distinction of having made her film debut 
as a corpse — in Bureau of Missing Persons — and is 
now regarded as one of the most promising 
“discoveries” of recent years. 

John Drinkwater, whom she met on a trans- 
atlantic liner, gave her her first chance on the 
stage and she had won a Broadway reputation 
before she went to try her luck in the studios. 

Jean lived in Edinburgh for a while and claims 
Scottish ancestry. 

She is twenty-three, blonde, 5 ft. 7 inches tall, 
and is proud of the fact that she has bigger feet 
than Greta Garbo. Real name is Jean Fullarton. 

The newcomer had-to battle hard to break into 
the film studios and she confesses that she had* to 
make a nuisance of herself badgering the movie 
moguls for parts. Now she is headed for 


Si^abeth ^ergner 

^^iigh IjOilliams 

Born at Bexhill on March 6, 1904, this English actor 
never got full recognition of his screen talent until he 
appeared in Sorrell and Son, although he gave excel- 
lent performances in Rome Express and After Dark. 

He studied at the Royal Academy of Dramatic 
Art and made his first stage appearance, at the age 
of seventeen, at the Margate Hippodrome. A year 
later he got a “walking-on” part in London. In 
1923 he joined the Liverpool Repertory Company, 
with whom he remained nearly three years. 

In 1927 he went to Australia with Irene Van- 
brugh, and in 1929 to America and Canada where 
he appeared as Captain Stanhope in Journeys End. 
He also made a film appearance in the talkie version 
of Charley's Aurt. Back to London in 1930 where 
he made hits in Grand Hotel, While Parents Sleep, 
and Strange Orchestra. 

It was in the same year that he made a British 
talkie for Fox — After Dark — while being currently 
engaged in two stage productions. 

Signed up by Fox, his first American picture is 
All Men are Enemies. 

Hugh Williams was educated at Haileybury, and 
his British pictures include A Gentleman of Paris, 
A Night in Montmartre, In a Monastery Garden, 
Whiteface, Down Our Street, and Insult. 

Regarded by many distinguished judges, including 
Mr. C. B. Cochran, as the greatest actress of her 
day and a logical successor to Sarah Bernhardt, 
Elizabeth Bergner was born in Austria. She studied 
for three years at the famous Royal Academy of 
Dramatic Art in Vienna, but it was to Berlin that 
she went to start her stage career. 

Miss Bergner first achieved fame in the German 
theatre in the role of Tessa in The Constant Nymph 
and as Saint Joan in the German version of Shaw’s 

Her capture by the film studios was inevitable, 
and she made her screen debut in the. silent days in 
N J U. It was never shown in Britain, neither, 
until very recently, was her first talkie. The Eoves 
of Ariane. 

In Der Traumende Mund, however, she swept 
British critics off their feet with a truly great 
performance. Germany’s loss was Britain’s gain 
when with the advent of the Hitler regime, Eliza- 
beth — a Jewess — came to work here and score 
another triumph in Catherine the Great. 

She is married to Dr. Paul Czinner, who has 
directed all her pictures. Although neither very 
young, she is in her thirties, nor very beautiful, 
she may easily become the greatest figure in talkies. 



was born in Beacon, New 
York, on May 21, 1904 ; is the 
son of Henry Montgomery, 
vice-president N.Y. Rubber 
Co., and Mary Weed Barrand. 

He is 6 feet tall, weighs 
160 pounds, has brown hair, 
blue eyes. Was educated at 
Pawling School, Pawling, New 
York, and by travel in Europe 
(England, France, Switzerland, 

Germany). With the death of 
his father, when Bob was about sixteen, came the 
discovery that family fortune had vanished. His first 
job was with his brother as mechanic’s helper on a 
railway. Four months later he sailed as deck hand 
on the Standard Oil tanker Caddo. 

On his return, he shared lodgings with Steve 
Janney, a boy in the theatrical business, who got 
him a chance to do small roles. First talkie appear- 
ance was under a Metro-Goldwyn-Mayer contract 
in So This Is College^ 

Born July 1, 1909, in New York. Began her 
professional career at the age of two, when she 
posed for soap advertisements — in the nude, one 
regrets to say. At the age of six she played in a 

film called Sudden Riches. She 
played child roles for seven 
years, and in 1925 was con- 
sidered old enough to play 
opposite Richard Barthelmess 
in Classmates. She played on 
Broadway for several years 
and eventually returned to 
the screen as a mature young 
woman. Now she is one of 
Hollywood’s busiest ingenues. 
Golden hair, grey-blue eyes. 
Fond of all sports and loves 
reading biographies of famous 

"^VsOnald Qolman 

His father, Charles Colman, was a silk importer, 
and he was educated at Hadley School, Little- 
hampton, Sussex. At the age of sixteen his father 
died and he had to leave school and became an 
office boy at the British Steamship Company. He 
did a great deal of amateur acting — at one time he 
was a pierrot — and became a member of the West 
Middlesex Dramatic Society in 1908-9. Succeeded 
in obtaining a professional engagement and made 
his debut in 1914. He went to America in 1920, 
and while playing in New York with George Arliss 
was offered the role of leading man opposite 
Lillian Gish in The White Sister, and the rest is 
history. Films include Romola, Her Night of 
Romance, A Thief in Paradise, Tarnish, and Bulldog 
Drummond Strikes Back. 

(fJKiadge Evans 


^hirley temple 

This four-and-a-half-years old youngster is 
probably the most important juvenile film 
find since Jackie Cooper. Given a small 
part in Stand Up and Cheer, she almost 
“stole” the show and stardom quickly 
followed her second big hit in Girl in Pawn. 



(UThe robber chief 
(Fritz Kortner) en- 
ters his treasure cave. 

(2) “Zaharat” (Anna May Wong) the slave 
girl is put to work with the lepers by 
the Robber Chief, for betraying him. 

(3) (George Robey) “Ali Baba” brings home 
tine clothes after he has been to the 
Robbers’ Cave. 

(4) Mustafa, the cobbler, conducts Hassan 
(Frank Cochrane) to the house of Kasim 

Lawrence Hanray (“Kasim Baba”) looks at some of the jewels he 
finds in the Robbers' Cave after his brother “.^li Baba” has told 
him the secret password. 



(T^HE tragedy of the children of 
^divorce, this film stars Mathe- 
son Lang, Lydia Sherwood, and 
Nova Pilbeam, Britain’s new child 

COHERE has long 
^ been a shortage 
of juvenile talent in 
British studios; 
Nova Pilbeam is 
expected to rival 
Hollywood’s best. 

C^HE strained 
domestic rela- 
tions between her 
parents perplex and 
worry Felicity, who 
loves them both 

^ taken ill after 
going to a Christmas 
pantomime with her 



poetess Elizabeth in “The Barretts of Wimpole 
'' ^ Street ” adds another new study to the long and brilliant 

list of Shearer screen characterisations. Norma, who was born in Canada, was 
once a “ Western ” heroine and a more or less sucessful ingenue. It was predicted 
that her screen career was ended when she married Irving Thaiberg, the producer, 
but instead she became one of the five greatest stars on the screen. 


Sli^abeth ^ergner 

Described bv many sound 
authorities as Europe’s great- 
est actress, and Germany’s 
gift to British talkies. Eliza- 
beth scores a triumph in 
Catherine the Great, Alexander 
Korda’s successor to The 
Prii'ate Tife of Henrj T 111. 

Grand Duke Peter (Douglas Fairbanks, jun.l, amuses himself 
one of his lights o’ love. Katushienka (Joan Gardner). 
Below ; TBe Empress Elizabeth (Flora Robson) prepares her 
daughter, Catherine (Elizabeth Bergner) for her nuptials. 

e ATHERINE inspects her 
soldiers who later are to assist 
her to ascend the throne of Russia. 
Below : Catherine reads state 
documents to the Empress, 
whose favourite she is. 

O T a dinner party, Catherine, 
to get her own back on her 
royal spouse, tells him that she 
has had any number of lovers 
and invents tales about them. 



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Ur jAn>€luLX iUuu . . 

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Q ARY Cooper 
is a great dog 
lover. He is seen 
here with his in- 
separable friend, 
a pedigree bull- 

Qa/y Qooper 

Born in Helena, Montana, on May 7. He is of 
English descent and lived on a ranch until the age 
of twelve, when he came to England to school. 

Gary started his life as a cartoonist on a news- 
paper, but later was reduced to working as a 
house-to-house canvasser for a photographer. 

He then sold advertising space on theatre curtains 
with the sale of drapery as a side line. 

Finally, this failed, so he went to a motion-picture 
studio for work as an “extra.” For a year he 
played in crowds. Then came the opportunity to 
play a leading role in a two-reel picture.. 

His work pleased the director, and he was given 
the lead in The Winning of Barbara Worth. 

When the picture was completed. Cooper found 
himself with plenty of offers from large and small 
producing concerns, among them one from 
Paramount, which he accepted. 

That he is a first-rate actor now is evidenced by 
such films as One Sunday Afternoon, Farewell to Arms, 
and Design for Diving. 

Gary is 6 ft. in. tall (it was his giant frame 
that first attracted the notice of the casting 
directors) and weighs 175 pounds. 

Favourite recreations : cartooning and riding. 


cAl Jolson 

His real name is Asa Yoelson and he was 
born in Leningrad. Taken to America 
while a baby, his father decided he was 
to become a cantor in a Jewish 

He did not like the idea and 
jran away to join a circus as a 
“bally-hoo” man. Became in 
time a cafe entertainer, vaude- 
ville artiste, and later the most 
popular black-faced mammy 
singer in America. 

It was, incidentally, while 
playing in a small theatre in 
Brooklyn that on the advice 
of an old negro he first made 
up in black face. His vogue 
was tremendous. For years 
he was the biggest single box- 
office attraction on Broadway. 

Leaped into prominence and 
popularity in the first talkie. The 

Faded out after a while, but came back 
with a bang in Wonder Bar. 

He is married to Ruby Keeler, who has 
also recently made a Ijig hit on the screen and clubs, was content to remain in the background 

with whom he is seen here. Ruby, formerly a until she was persuaded to take the ingenue lead 

cabaret dancer in the late Texas Guinan’s night in A2nd Street. She scored an immediate hit. 



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V ^ 

■ 1. 



^ * 


m Ik'. 


Courtesy of the 

Wisconsin Center for Film and Theatre 


Coordinated by the 
Media History Digital Library 

Funded by a donation from 
John McElwee